Last seen: Tue 11 May, 2021
: Re: Website redesign I would like to redesign a random website and use it in my portfolio, either as an image or sample live project. Am I allowed to do that, use their logo and link to the
Duplicate web sites can actually lower SEO. You'd be causing harm to the existing site. I'd recommend you not do this.
: Re: InDesign - Content going into other page? I just made myself a 18 page InDesign document to print. Then I drew Graphic Frames that line up to the page edges and placed my images (Using File
I think your question is perhaps a tad confusing due to usage of non-common terminology. So for the sake of trying to answer, I'm going to assume:
"files" actually means placed images
"marquee box" actually means Graphic Frame
"black margin line" actually means page edge
If these assumptions are incorrect, please click the EDIT link under your question and provide more detail.
So.. the issue....
You've got document pages....
You've drawn a graphic frame which should line up with your page edge....
You've then used File > Place to place (linked) images inside the graphic frames....
When you export to PDF, you are seeing some images overlapping extra pages undesirabley.
That seems to be the issue, again, please EDIT and correct the question if this is not the issue.
All you need to do is turn on snapping (View > Guides & Grids > Snap to Guides) and zoom in on a page corner.
Then using the Move Tool (black arrow), click the graphic and its frame should highlight.
Ensure the edge of the graphic frame is indeed at the edge of your page by moving the frame's handle at the corner.
It's sometimes easy to over or undershoot the page edge if you aren't zoomed in. Turning on the snapping should make the graphic frame snap to the edge when you get close to it. And you'll want to check opposite corners.. top right and bottom left... or top left and bottom right.. for any page that has a graphic frame at it's edge.
A perhaps easier solution may be to utilize a small bleed which would allow images to slightly overlap the page edges. This is highly dependent upon your end output though and what the PDF is destined for. If you are setting up a PDF for commercial printing, bleeds should always be used if anything is meant to trail off the edge of a document page. Also note, that with a press-ready PDF that contains bleeds and marks, you will absolutely see opposite page content in a single page PDF. That's how bleeds work. I honestly don't know if this may be what you are referring to.
: Re: How to export an svg icon in adobe illustrator with gaussian blur? How to export an svg icon in adobe illustrator with gaussian blur? I am working with Adobe illustratot CC. When I use "effekt
Try selecting your artwork and using Object > Expand Appearance. I created a simple vector object and exported it to SVG after using that option. It rendered with the Gaussian blur I applied when dropped into Chrome and Safari for Mac.
: Re: Erase parts of a raster layer in Illustrator I have a composition in Illustrator where I want to erase some parts of a Raster (non-vector) layer. Basically there are drops of coloured ink floating
Illustrator has no tools to directly edit the pixel data of raster images.
You can crop an entire raster image, you can adjust the blending mode of the entire image, you can mask part of the entire image. But you cannot alter the actual pixels of a raster image with Illustrator.
If you do not want to use Photoshop, the only option you have is to edit the vector content in Illustrator to achieve your desired results - such as add anchors to your circles and edit them. Or add clipping masks to your vector circles, if that's even feasible.
Without a direct example of what you are working with it's impossible to provide further direction in my opinion.
: Re: Hi-res billboard design print specs I'm tasked with designing the FIRST billboard for our store. I'm excited and I have the design all set, but I wanted to know if I've done this right.
I'm not entirely sure where your confusion lies.
The Mechanical Size provides all the spec's you'll need.
Merely set up a 12" x 3" document, ensure you have a .156" bleed (.312 / 2), and that's it.
To factor the safety area, grab the rectangle tool, click the artboard once and the rectangle pop up should appear. Input the safety area measurements (11.812 x 2.812') and click OKAY.
Then align that resulting rectangle to be centered both vertically and horizontally to the artboard. Finally turn the rectangle into guides by choosing View > Guides > Make Guides.
That should give you the overall file set up with the artboard the size of the live area, red guides for the bleed area and cyan guides for the safety area:
As for PPI.. if you are creating only vector content within Illustrator you don't need to worry about PPI.
If you are placing raster images into this Illustrator document, you will want to ensure all raster images are at 400ppi before you place them in Illustrator. And then do NOT enlarge placed raster images within Illustrator. Enlarging a 400ppi image within Illustrator will lower the image PPI.
If you intend to use built in effect in Illustrator such as drop shadows, blurs, and glows, you will want to adjust the Document Raster Effects Settings in the Effects Menu.
Set this to "other" then 400ppi.
Note that this only alteres raster items created within Illustrator this setting does not alter any placed raster images.
CS6 screenshots, but it's all the same in CC, windows may look slightly different that's all.
: Tips for Magazine Cover? School artistic magazine, done in Inkscape. Not sure about the readability of the entirety, nor about the colors for the text. Any tips would be great. Also, someone
School artistic magazine, done in Inkscape.
Not sure about the readability of the entirety, nor about the colors for the text. Any tips would be great.
Also, someone told me that all that whitespace down there is a good thing... seems almost too empty though.
: Re: Saving Illustrator AI File as PDF and PDF is inaccurate I created a wireframe in Illustrator. I have it saved as an AI file. I decided to "Save As" a PDF so as to send it to the client.
Each artboard in Illustrator will create a page in a PDF (even if artboards overlap).
It appears as though you have 3 artboards.... one full size, then 2 the size of the footer.
Delete the extra 2 footer artboards and then save as a PDF again, you should have only 1 page. Or you could merely delete the extra 2 pages in the PDF using Acrobat.
: 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
Make certain the Dome shape is on top of everything else.
On the Transparency Panel (Window > Transparency), click the Make Mask button. This will create an Opacity Mask rather than a clipping mask. Works much the same as a clipping mask but there are some differences.
While a basic clipping mask would also work. You might find, due to the complexity of the underlying objects, an opacity mask is more manageable. It's all still vector.
: Re: How to undo place embedded in Photoshop How can I undo File > Place Embedded image once the file has been saved? Is there a method to get rid of this?
Delete the layer to remove the contents
Right-click/Control-click the Layer in the Layers Panel and choose one:
Relink to File to change what file is embeded
Relink to Library Graphic to link to a library graphic
Replace Contents to, well replace the contents of the smart object
Convert to Linked to convert an embedded file to a linked file.
: Re: How to I change a .psd format to .jpeg format without photoshop? I took my work home from a photoshop class, not realizing I didn't save my pictures as .jpeg instead i saved them as .psd
There is no way of converting it without Photoshop AND keeping YOUR photo as YOUR property. Sorry bud.
: Re: How can I use data to drive my decisions as a commercial artist working for a client? There are many outlets available to designers to acquire data and drive design decisions. With the rise
"Where should I run this campaign?" or "Which outlet will provide me more ROI on a campaign?"
That's not the designer's job to determine.
Truth of the matter is the sales team, the order takers, the accounting department, heck even possibly the shipping department, will all have a better handle on where orders are received in a more amenable fashion and where more orders are coming from. Then factor in actual marketing departments whose entire basis is statistical analysis of customer information and it becomes clear that the designer is among the least qualified to determine where a campaign will have the most success.
I'm running a campaign on [VenueA] and [VenueB]. What will work best?
This is the designer's job. The designer should be aware that a campaign seen on [VenueA] will primarily be seen by a younger audience, where as a campaign on [VenueB] will be viewed by an older audience. Then be able to alter the design of the same content to match aesthetics better suited for a given demographic.
At times this demographic data is somewhat inherent in the venue itself. When dealing with Facebook, Twitter, Instagram, et al. It's fairly understood that the largest demographic is under 40. Compared to dealing with newspapers, whose demographic is traditionally older.
While no designer needs to scour over demographic and marketing data to any great degree, it is possible to get a cursory understanding of a demographic via a simple web search for the data.
Most web-based companies will have the data kind of readily apparent somewhere. So searching for "Facebook demographics" can easily lead you to a quality link.
When dealing with non-web-based companies things get much more difficult because it's rare or impossible to find such data for non-web companies, unless it's provided by a marketing department. It's often guarded with much more secrecy. However, asking the client "who their customer is" will provide some general information on their demographics. Sometimes this is all the designer has to base thing on.
Marketing is a profession unto itself for a reason.... it takes experience, time, and effort. While understanding what works and does not work for general demographic ranges should be important to a designer. The designer should not be dictating to the client where a campaign will work best. The designer simply won't have all that information or the expertise to sort through the information if they do happen to get it.
Now, as far as what demographics mean in terms of design alteration... well, that's a manual or book unto itself. Part of a good design education or experience is the knowledge with respect to the variances common when looking at different demographics. Things like type sizes based upon age, color trends based upon age/affluence, etc. are all general knowledge every designer should have. There are many questions on this site dealing with these specific topics:
How to select colors for target audience based on age?
What are good general typeface principles based on target audience age?
There's also the "trend" factor which is a bit undefinable. To me, "trends" start by someone copying something they liked, then someone else likes it and copies it again, then it's copied again, and again, and again until it's a "trend". There's is often no rhyme or reason to trends. So, really the only way to keep up to date on trends is to observe the world around you. Sites such as this one are great at seeing what's being asked and talked about. But you probably won't find any hard, statistical, data on trends anywhere - at least not until after the trend is long dead.
How do design trends originate?
I realize some companies throw everything into a hat and call that a "design" position. Marketing is one of those areas that is tangent to design and can be thrust upon a designer by companies at times. It is possible to wear multiple hats if that's your desire and be good at marketing+design. But that's not generally the "norm" for a designer. In broad terms, designers aren't marketing experts. Much like sales copy writing, the designer will almost always do a far inferior job at marketing than actual marketing professionals, the same way marketing professionals will always do an inferior job at designing than the design professionals.
Got marketing email from Adobe today:
Even the best marketers struggle to blend the digital and physical worlds together. Dive with us off the coast of Grenada to see what marketers can learn from an underwater sculpture gallery. Read our guide, The Art of Integration, to learn how to turn your online and offline interactions into seamless experiences.
And the link to the guide: landing.adobe.com/en/na/solutions/analytics/261941-ddm-the-art-of-integration.html
: Re: Google has removed the "Download Image" link, what changes should I make as a designer? Thanks to a lawsuit by the large stock congolomerate Getty Images (which also owns iStock) Google has
In my work, I don't use Google image search. I'm not really certain how such a search would be a factor in a workflow.
Images found via broad internet image searches have always been legally questionable. I've always searched actual stock sites for images I need to use. Results are often better and the licensing is clear.
If one is using Google for general reference searching, chances are they are not seeking to download or save images anyway. So, this new hurdle won't really matter that much. If they are wanting to save things, well, a screenshot works if nothing else. Especially since saving wouldn't be for reproduction purposes.
As for my own content being seen via the search of others... anything Google does to deter the theft of my images I'm all for. I realize nothing will prevent someone lifting an image if they really want it. However, putting hurdles in the way which cause the casual user to move along is always a good thing.
: Re: Adobe Illustrator - equal bleed on multiple documents I'm working on a design, that needs to be printed in multiple sizes (mostly in 4:5 ratio, sizes from 8x10 to 32x40 inches). Each printed
Illustrator doesn't offer margin guides the way applications such as InDesign do.
You can set the bleed amount in the Artboard settings and get guides for the bleed.
But for the safe area you'll need to measure and place guides yourself.
: Re: Technical term for this kind of image Vinyl cutters often reduce photos to pure black and pure white for rendering in one color of vinyl against another color background. Popular tools for this
While vectorized, woodcut and posterizing are also accurate descriptions, I believe the technical term for this is a two tone silhouette.
There are many free tutorials online if you search this term and, of course, there's always the Image Trace function in Illustrator if you're looking for a quick fix.
: Re: Tools for Managing Personal Font Libraries I have a ton of licensed fonts from various foundries (1,000+). Is there a tool out there similar to Typekit that would enable me to host/organize
I've been using FontAgent since the early 2000s.
Before that I Use the Adobe Type Manager (which is dead now). I've tried Suitcase and FontExplorer and always found them more troublesome than helpful. That's just my opinion/experience though.
: I don't think this is referenced directly, but if you look at at the color section there's this paragraph that mentions the status bar vs toolbar: To create contrast between elements,
I don't think this is referenced directly, but if you look at at the color section there's this paragraph that mentions the status bar vs toolbar:
To create contrast between elements, you can use lighter or darker
tones of your primary color. The contrast between lighter and darker
tones helps show division between surfaces, such as between the status
bar and a toolbar.
I'd say that it's a good general principle to divide/distinguish groups of elements that have different functionalities, by using different colors, saturations or shapes.
The advantage of material color guidelines is that they offer a nice selection of color in their palettes. A shade that is slightly lighter would separate the status bar, which I think is a great improvement over all black: The little Android bar is also a draggable element, it's useful to see where its edge is so you know where to pull. And since it has nothing to do with the app itself, there's another reason to keep them distinguishable from each other.
I'd recommend you take a look at the Principles of Grouping, the Proximity and Similarity parts will surely come in handy.
The Gestalt law of proximity states that "objects or shapes that are
close to one another appear to form groups".
The principle of similarity states that, all else being equal,
perception lends itself to seeing stimuli that physically resemble
each other as part of the same object, and stimuli that are different
as part of a different object.
: Re: Bounding-box suddenly way too wide & off-center I've been working in an illustrator file for some time now, but today, all of a sudden, all instances of a symbol I've made are 16k pixels wide
(I did not examine your file. Random downloads from unknown sources aren't really great.)
I think this is a bug in symbols.
I have a particular symbol that does this as well.
The only solution I've found is to double-click the offending symbol in the Symbol Panel, to enter symbol editing mode, then exit symbol editing mode -- BAM it's fixed.
I've been unable to determine what causes this bug. As I've posted, I have a document with about 30 symbols... only one of them acts this way every time I open the file or copy the symbol to another file and it's not due to any superfluous artwork or guide.
: Re: What are some strategies for dealing with poorly written text? While many people thing they are good writers, few actually are. I'm often given content in a word document—often consisting
They have copy...
They get what they pay for. It's not my job to write their copy or to even edit what they have provided. Yes, I may read the copy and laugh, cringe, or be disgusted by it. But I am not responsible for what they provide me nor for their "business message" they wish to convey.
If they have a 17 year old, third cousin, of their mother's uncle's sister's nephew write copy that is horribly grammatically incorrect and littered with typos, that's what they've chosen to do. Not your problem. Most business are aware that they need someone to write content. Who they choose is up to them. Like any aspect of running their business, I feel it's a bit out of place for me to tell them they need a different writer if they've already chosen one.
If copy is truly horrible, I may say something like "I know a few professional writers. I'm sure they may be able to provide some copy suggestions if you are interested. Would you like me to pass along their contact information?" But beyond that....
I use what they provide.
I tell the client to "please proofread everything closely. I'm not responsible for content or typographical errors once the design is approved." If they still want to use horrible copy.. I cringe and move on.
I will correct clear typographical errors if I see them, but it's not really my "job" to do so if changes aren't requested.
I will mention to the client that "X sounds a bit odd to me, is it just how I'm reading it?" if I see something out of place. Again if I see it. I'm not specifically looking for such items.
Is it the Graphic Designer's job to correct/suggest grammar and punctuation?
Who is responsible for text mistakes in a print project?
Is creative writing needed to be a graphic designer?
They need copy....
If I'm asked about writing, I state that I'm not a writer but I know several and would be happy to provide some referrals.
If they are adamant that they just "want me" to write the copy... well.... I, personally, never take on clients that need me to write their content. That's not what I do and not where I specialize. My time is much better served by sticking to what I know and do well.
It makes no business sense for me to venture into an area I either don't work in or perhaps don't want to work in for a single client. Clients come and go, why would I bother stressing myself out by performing duties I don't normally perform? Another client with good copy will come along shortly. I wouldn't attempt to take on the client's customer fulfillment responsibilities merely because they ask me to and they want to save money. That's not my job. And whether or not they can afford someone to do something they need done is of no concern to me.
But, well, I guess if you really want to be a writer as well.... First... the fee for services goes up, way up.
Copy writing is a profession. So earnings should rise accordingly. The client may be of the mindset that they can "save money" if you write copy.... but you taking on additional work doesn't mean you need to give the client some huge financial break. Remember you are a business too and most, if not all, business won't take on additional work without additional fees. Perhaps fees not as high as they would be for one dedicated to the tertiary profession but they should be higher than the base rate for the primary profession.
Often the mark of a "bad" or "less-than-ideal" client is the client that keeps wanting you to do everything under the sun for the same rate or to "cut them a break" because they are giving you "so much work" even if that work is not in your chosen field. It can be an attempt to overwhelm you, throw you off balance, use you as much as possible then move on, either paying as little as possible or not paying at all.
In short, it's not your job to save the client money. That is not to say you need to gouge or take advantage of anyone. You don't and shouldn't. But you absolutely should be compensated if you are performing tasks above and beyond what is normally expected. For me, personally, my hourly rates would double, if not triple, if I were to take on such a project.
So, will it save the client money? meh.. that's arguable. A professional writer has a better chance of creating copy that results in a higher Return on Investment (ROI) and while they client may save a little by asking you to do the writing, it's highly probably the ROI on your copy will be lower meaning they client is spending less but also earning less by asking you to do the writing. As the old adage goes.. You have to spend money to make money.
: Re: What is this style of design called? It's not still flat is it? I'm trying to think of the name of this style, to me, it's sort of like a flat meets minimal skeuomorphism (like 90% flat,
why do you think "there's a proper name"? It could be either...
or perhaps isometric (which would be as accurate as skeuomorphic or flat)
: Re: CInema 4D Sudden Loss of All Textures in Render So i am having a strange problem. I have a scene I am working on that is 1020 frames long. For most of it, the camera is at a -3 degree
This is (without seeing an image) probably because specular highlights (light reflecting off the surface) are obscuring the textures. Your placing of the higher powered single light source might be overcoming this specularity from a larger light that's tangential to the camera/surface relationships when the textures "disappear".
: Automatically create bold-italic from italic font Google Chrome has a nice feature - it can create bold-italic letters on the fly from italic letters (in case a font has italic style but does
Google Chrome has a nice feature - it can create bold-italic letters on the fly from italic letters (in case a font has italic style but does not have bold-italic). The result looks good enough: letters become thicker only in vertical direction, thin horisontal lines are there. In comparison the same result from Firefox is awful.
Is there a way to do this automatically on the whole font in free font editor or any other free app (CLI is also OK)? May be Chrome uses some free engine...
Here is a screenshot of Linux Libertine in Chrome. Top example is a semibold-italic made by font author. Middle example is italic by author. At the bottom is an automatically generated by Chrome pseudo-semibold-italic from italic. In the red is a screenshot from FontForge after changing font weight.
: How to have your text change color on different backgrounds in Illustrator cc5 I am trying to figure out how to make the text change its color depending on the background colors – just like
I am trying to figure out how to make the text change its color depending on the background colors – just like below (click to enlarge and clearly see the effect):
I’ve tried opacity but nothing is working, and now I’m spending too much time figuring it out. I have already tried to adjust the opacity on it, but I still get nothing and for some weird reason, it also will not mix the colors once it is ungrouped.
: Re: Illustrator: Copy appearance between documents I am currently making assets for an InDesign project. In order to stay consistent I wanted to copy over the shadow I created to the rest of my
Graphic Styles are the easiest method moving forward with new files.
If you have a bunch of existing files, and want to copy an appearance, you can still use Graphic Styles in perhaps an easier way.
There's no easy, automated, method to apply an appearance to a collection of files, so either way you will need to "touch" each asset file.
Take your existing element with the shadow and drag it to the Graphic Styles panel.
Now merely Edit > Copy the element. (You can close the file now)
Open a different asset file
Select the new asset and then click the style in the Graphic Styles Panel.
The copy/pasting places the Graphic style you want into the newly opened file, then deleting the copied asset removes the actual artwork.
This is merely a shortcut to moving a Graphic Style between files without having to use a bunch of menu tracking to load files.
Be aware, grouping the artwork and then applying the shadow, and then making the Graphic Style is the procedure I would follow. Then upon opening old assets, select and group, then apply the Style. Graphic Styles actually have 2 forms - groups and individual objects. You can't tell them apart other than how they may or may not work with an object/group. So by making everything a group first, you ensure the style will work the same with everything.
: Re: Icons Making Illustrator Slow My client gave me a set of 13 icons to use in some print and web materials that I am designing for an event. They are simple one color icons with a sketchy
Illustrator has a tool to simplify complex objects; it can be found under
Object > Path > Simplify
You can fiddle with the options to get your desired result. If the problem is indeed the huge amount of anchor points, that should solve your problem.
Further information under: helpx.adobe.com/illustrator/using/editing-paths.html (further down the page there is a section on simplifying paths)
: Scaling issues for vinyl printing I am currently printing 30 shirts for a sports company. All of which have a different sponsorship that must conform to the 14.5cm x 4cm area. The issue
I am currently printing 30 shirts for a sports company. All of which have a different sponsorship that must conform to the 14.5cm x 4cm area.
The issue I have is that if I use the same font size for all sponsors, the smaller names such as (OSI) will only be 1cm in height which is not ideal. What would be the best scaling method to make sure the design is consistent.
: Re: Version numbers that auto update I have a single page document (with lots of separate text boxes and objects) that I have to update then print and distribute to our team, sometimes many times
Type > Text Variables > Define...
Then define a variable.
For example, I would use Month and Year as the variable. It makes it easier and more descriptive overall. Depending upon how often the document changes, adding day as well may help.
Note the Preview. That's what the auto-text will look like.
Then, somewhere in your document create a text frame and choose Type > Text Variables > Insert Variable and choose the variable you just created. Set the font, size, style, etc you want.
Now every time you modify the document and save it the variable will be updated after the save. So before outputting, you need to save the file for the variable to be updated.
I usually open a file, make my first change and save - that ensure variables based upon file modifications update. Then continue on with any changes.
If you need something even more specific...
See the Preview area above.
Here I've used the hour (00-23) - year.month.day
And it's possible to also add minutes, or seconds, if by the hour is still not targeted enough.
Unfortunately, I'm not aware of any auto-numbering that is merely standard numbers within InDesign. The only auto-numbering which exists are all based upon document frameworks such as page numbers, chapter numbers, sections, etc. You really can't add a random number that auto-updates. You would need to run a script to update it or manually update it. Both of which would require more interaction that merely using a timestamp as a text variable.
Frankly, if you can't configure a variable based upon file modification, then manually update a number whenever you open the file.
: Re: Making InDesign recognise image paths to network drives when importing XML I asked this question on SuperUser nearly four months ago, but despite several edits to bump it to the top and even
It's specifically for these reasons why Adobe does not recommend working from a server. They can't test every environment.
I realize it's frustrating and annoying. But unfortunately some networks work, some don't. If you are unlucky in that, you are unlucky.
Without altering the network itself, there's not much which can be done. And even if you are to alter the network, it's a hit or miss type of issue.
: Re: Photoshop vector smart object opening in Preview instead of Illustrator? In Photoshop CC (version 19) on the Mac, I have a smart object vector graphic layer. Double-clicking the layer to edit
You can place a PDF in Photoshop as a smart object.
If the original was placed, as a PDF, and the OS is set to open PDF files in Preview.. there's the reason. The Smart Object won't change the original data (that's the entire point of Smart Objects). If you place as an .eps, the Smart Object will open as an .eps. I've never seen a placed .eps or .ai file open as a .pdf from double clicking a Photoshop Smart Object. For example, double-clicking a .pdf placed Smart Object on my system will open the embedded .pdf in Acrobat for me. But I don't use Preview for, well, anything if it can be avoided. I dislike Preview and it's drawing bugs.
You may need to, at least briefly, set the OS to open PDFs or EPS files in Acrobat/Reader/Illustrator rather than Preview to circumvent them opening in Preview. Seems, from comments here, that Preview does some file suffix voodoo as well which may be undesirable.
Another option would be to right-click/control-click the Smart Object Layer and choose Export Contents. This will allow you save the .pdf contents as a .pdf file which you can then drag to Illustrator to open and then subsequently replace the .pdf Smart Object with an Illustrator Smart Object. If the original contents are indeed an .eps, that should allow you to save them as an .eps as well.
: Illustrator colours and export as PNG I've just installed Illustrator on my PC and I don't why but the colors in Illustrator look "Dull" however when I export my project as PNG they look fine.
I've just installed Illustrator on my PC and I don't why but the colors in Illustrator look "Dull" however when I export my project as PNG they look fine.
I am working with RGB colors. Also, I have checked it in Photoshop and it looks fine before and after export. So I guess the problem is with some configuration in my Illustrator but I can't find how to fix it.
I was spending all my morning checking the different posts about that in this forum and on the internet but I didn't have luck.
Does anyone know where is the problem? I really need to see the real colors on my screen before to export.
: Re: Exporting Adobe files to work in alternative platforms? My Creative Cloud is going to run out soon and I'm looking into cheaper alternatives, such as Sketch, however I'm concerned about the files
I recommend Affinity Designer and Affinity Photo (I have no connection with Affinity, just a user). They can also open PSD and AI. I prefer the Designer over Illustrator. Haven't worked that much with Photo, but so far it seems like a really good alternative to Photoshop. The pricing model is also a lot better than Adobe's. The files are saved in a format that allow them to be opened in both Designer and Photo, and you can export to several different formats. Affinity is also working on an InDesign alternative.