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@Nimeshi706

Nimeshi706

Last seen: Tue 11 May, 2021

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 query : Re: What are the Best Sizes for Designing an Icon Set Used for Web The icons that I've created for a website of mine are starting to become a little disjointed in size and styling. I"m wanting

@Nimeshi706

You should design in a vector based environment so that your master designs are resolution independent. That way you can export them at any resolution that makes sense now as well as any that become relevant in the future. Even better, stay in the vector domain (i.e. SVG) so that pixels don’t rule the design process.

You may need to have a set of rules to work to such as minimum line weights so that everything works nicely at different sizes and in different resolutions, but you can establish these with a little experimentation.

Also, you may need to have variants for small, medium and large (for instance) with different levels of detail, but keeping everything as vectors makes this much easier to manage.

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 query : Re: How can I resize a vector to a specific size and resolution? I'm fairly new to design and I'm having issues resizing vectors. My end goal : to print to a t shirt through something like redbubble/printful.

@Nimeshi706

With Adobe Illustrator, creating vector content, there is no PPI to be concerned with. Vector graphic are resolution independent and don't adhere to any specific PPI.

So, you merely create a document with an artboard which is 7500x7500px and then create your artwork on that artboard.



If you are placing raster images into this Illustrator document, you will want to ensure all raster images are at 300ppi before you place them into the Illustrator document. And then do NOT enlarge placed raster images within Illustrator. Enlarging raster images within Illustrator will lower the image PPI.

If you intend to use the built-in effects withinin Illustrator such as drop shadows, blurs, and glows, you will want to adjust the Document Raster Effects Settings in the Effects Menu.



Set the Resolution drop down to "High" and the ppi field should then read "300".



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.

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 query : Re: Margins changing from InDesign to PDF? What am I doing wrong? When I save my InDesign file as a PDF the margins are different when I open the PDF and off when I print. They are correct

@Nimeshi706

It appears as though you've included the bleed area when exporting to PDF. There are merely no "marks" to show you this. The margins haven't changed, but the bleed is included in the PDF, making it appear like there's more document there. Well, because there is, the bleed.

If I overlay your two screen shots on top of one another, and scale them to be relatively the same size, you can see the page sizes for the PDF match the bleed guides in the InDesign screenshot.



So, when exporting the PDF you'll want to ensure Use Document Bleeds is either off or that you set the bleed to 0.

If you do indeed want to include the bleed area, without any trim or crop marks, then the PDF is correct.

CS6 PDF Export Window:



Should be relatively the same in CC.. I don't want to launch CC at the moment.

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 query : Re: SketchUP: How to to resize only one dimension of the model and leave others as is I am somewhat new to sketchup - I have used it for just simple woodworking. I have a problem with this

@Nimeshi706

If I understood, you want only shorter pink part. Hide one of the grey-green-blue frames (make them a componet, too) to make the ends of all pink parts free. Then push the pink parts axially shorter. Use the Pull tool.

Before pushing make a marker with the tape measure to the parts which need shortening. You can also cut a piece off sideways. It's shown later.

Then make the hidden frame visible and move it to its new place.

In paid version of SketcUP there's available boolean combinations (subtract, union, intersect). You could with them subtract the needed piece a little easier.

An example: The horisontal part must be shortened a preknown amount.



Hide one of the vertical parts to keep it safe. Draw a rectangle which covers the piece to be removed:



Take the pull tool and push the rectangle off through the bar. Use the erasing rubber to remove possible remnants (=end curve). Shortening like this (=sideways) doesn't need tape measure, you can dimension the rectangle directly.



Unhide the vertical bar



select the vertical bar and move it to the green axis direction until it snaps with the shortened horizontal bar:

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 query : Re: Exporting Illustrator image for CMYK printing using jpg I'm wondering if I need to convert fonts to outline when exporting to a jpg? I assume not, but it's been a while since I've had anything

@Nimeshi706

Well JPG is not an optimal format.

PDF would be much preferred.

Anyway, when you export a JPG everything is rasterized. So, there's no specific direct need to create type outlines prior to exporting.



I don't know what online service you are using to print, but customarily PDFs for print are the size they need to be for quality reasons. Yes, they are typically larger than a JPG, but there's a valid reason why they are larger. Most print services would really prefer a quality PDF to reproduce than a jpg.

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 query : Re: Creating an elongated text effect What is the most efficient way to achieve an effect such as the one pictured below?

@Nimeshi706

Create your text in Illustrator and convert it to paths. Next, use the direct selection tool to drag a selection box around just the points that make up the lower parts of the letters. Drag these points down until the text is as tall and stretched as you want it.

You may need to experiment and make some adjustments to get a pleasing result, but that’s the basic method.

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 query : Re: Replicate curves adjustment in Photoshop I edited an image with a curves adjustment on all the channels (RGB, red, green and blue). Now I want to know how those curves looked like, so I can

@Nimeshi706

If you'd have used a single curve per channel, and you have your input and output images, you could derive the curves back using some image processing.

But since you used both the RGB curve and the individual R, G and B curves, that is (I think) impossible (or exceedingly hard), since you won't be able to tell how much the RGB curve or the individual curves each contributed to the output.

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 query : Re: Horizontal Slideshow Video in After Effects I've just started using after effects for the first time and am in a desperate need to create a slideshow that pans horizontally. There are articles

@Nimeshi706

Create a very wide image in photoshop (or similar), with all the images you want to use. Make the height the height of your video (1080px for HD for example).

Import into After Effects and then use Keyframe animation (you can google that term +AFX) to animate the wide photoshop image from left to right.

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 query : Re: 1px hairline in Photoshop after scaling a selection (feather is set to 0px) After some upgrade of Photoshop CC (from PS CC 2017 to 2018 I guess) I noticed 1px hairline on images after scaling

@Nimeshi706

I have noticed it that too.

The soluction I am using is:

Make a selection then make a copy Ctrl + J .

Scale the copy.

I use bicubic interpolation but you can try the other ones.

See the image below.

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 query : Re: Place embed place how to bring back in editable mode File > place embedded → This is how we import the files. see attachment → But as soon as we right click and then click place: Then

@Nimeshi706

Please consider reviewing some basic tutorials: Get to know Photoshop from Adobe

This is really core knowledge regarding the application functionality. Reviewing basic tutorials will assist you in working more quickly rather than having to post questions about basic functionality.

To resize content on a layer...

Highlight the layer in the Layers Panel then choose
Edit > Free Transform or Edit > Transform > [whatever option you want]

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 query : Re: Photoshop: How to make shadow more realistic Something about this isn't quite right. I'm new to photoshop and tried messing around with Transform and Alt+Drag a bit but it still looks a bit

@Nimeshi706

At first: The shadow of an inserted object cannot be realistic before the object itself and its interaction with the background are generally realistic (or at least seem to be).

The effect of a bottle, which is made of bright uncolored glass, has several parts


Reflected lights as highlights
Reflected environment (=distorted images with reduced opacity)
Refracted (seen through glass) lights as another type of highlights, bright lights can be well visible from nonpredictable directions, because they can walk inside the glass nearly around the bottle without becoming unnoticeably dim
Refracted environment, distorted like seen through a bizarre lens
Glass itself is a little hazy, but its opacity is very low
A shadow is generated because the glass reflects and refracts the light off and also absorbs a little.
Intensified lights somewhere in the environment, interleaved with the shadow, caused by the lens effect and reflection of the glass
On soft platform the bottle makes a dimple due the weight or placing impact


Quite complex, I say! I have seen software (Blender and its commercial multi 1000$ counterparts) which handle this all with 3D and physics modelling, but it's far beyond my skill level and the scope of this answer. In the next example we do only few of them and we rely on fake methods with 2D images.

I have noticed that a photo of a bottle must be adapted to the background. It cannot be made nicely transparent, reflecting, shadow making and background refracting without the final environment photo. (A guru probably could construct a smart enough filter which needs only a new environment image and few slider adjustment to fit perfectly again. We skip it)

Let's start. Have a bottle photo - background already removed, desaturated, fully opaque, but with no adaptation attempts still done. Add it as a layer onto your background image (layer name = Landscape):



Make a copy of the bottle with exaggerated edges. Use Filters > Stylize > Find Edges. Let it have Blending mode = Multiply to remove white. Here it's shifted temporarily a little apart



The bottle can be made transparent with blending mode Hard light. Over 50% brightness areas lighten the background, darker than 50% makes the background darker. A curves layer with "only the next layer"-switch is needed to adjust the effect. Obviously you don't want too much white and definitely not too much darkness

The Edges-only version with reduced opacity adds definition. Insert the original bottle with very low opacity (=normal blending) on the top. They together with the hard light layer are quite plausible bottle:



You need a shadow. Make a copy with the hard light layer + its adjustment layer. With different (darker) adjustment, moving it downwards, distorting (= Edit > Transform > Distort) and blurring (= Filters > Blur > Gaussian Blur) little it can be plausible shadow. Blur describes that the light is not fully from one point. It's also an aid. Blur reduces the need of warp the shadow along the bumps of the underlying background, which is skipped here:



Note that the max brightness of the shadow curve is 50% (=no effect). You cannot get good intensified light areas by having brighter curve. It needs curve adjustment to the background and the bottle must be in the layer mask. That's also skipped here => We have no intensified light spots on the background.

As mentioned, the bottle distorts the through seen background including the shadow. We make a merged copy, where the shadow is applied to the background and distort it with liquify.

Duplicate the background image layer and the shadow with its adjustment layer. Merge at first the shadow and its adj layer, then merge the result with the background.

Duplicate the result. You need it as a spare and also otherwise later. Shut the original shadow- and background layers, but do not remove them.

Make a selection which covers the bottle You can Select the emptiness around the bottle with the Magic Wand and invert the selection. Then goto the merged shadow+background layer and start Filters > Liquify:



There is applied Bloat in the middle, Puck at the edges and the bottle is walked around to make it clearly different. This is fully fake distortion, but makes the existence of distortion obvious. Probably you must try several versions until a good one is found. The result:



There's also applied the following tricks:


The adjustment curve of the hard light layer is made a little concave. That contrast boost makes the distortion better visible without reducing the brightest highlights.
The distorted merged layer is made partially transparent, it reduces the artificiality of the distortion because something original also exists
a few spots in the distorted layer are erased because they seemed disturbingly artificial.


NOTE The bottle is placed onto the background without any digging nor other soil moving works. If you need them, you must do them in the beginning. The shadow is more defined than if the sky were fully cloudy. So a little sun glittering would be an useful addition. Here two pieces of glitter is added (Beware, this transforms easily your image to a cartoon):



Done!

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 query : Re: How can I convert a path to a shape in Inkscape? This is a follow-up to my earlier question, where I learned that one can trace the edge of a vector image by using a union if all the

@Nimeshi706

A variation of @Wrzlprmft 's answer worked for me:


Create a rectangle bigger than the object you want to work with.
Covert the rectangle to a Path (Path -> Object to Path)
Place the rectangle / path behind the object you want to work with.
Select the rectangle and then select the object you want to work with.
Use Path -> Difference to have your object "cut out" of the rectangle.
Use Path -> Break Apart to get the individual pieces as separate paths.
Profit

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 query : Photoshop Brushes and Eraser with 0% hardness leaving a hard edge I recently started having this problem with my erasers and brushes in Photoshop. Instead of leaving a smooth fade, when the

@Nimeshi706

Posted in: #AdobePhotoshop #Brush

I recently started having this problem with my erasers and brushes in Photoshop. Instead of leaving a smooth fade, when the basic brush and eraser is set to 0% hardness, a very vivid edge/line is left around and there is no smooth blend.

Can anyone help me fix this?

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 query : 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:

@Nimeshi706

Posted in: #Imagemagick

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:

magick convert woman.original1.jpg -colorspace HSL -channel Hue,Saturation -separate +channel ( -clone 0 -background none -fuzz 7% -transparent #575757 ) ( -clone 1 -background none -fuzz 0% -transparent #4a4a4a ) -delete 0,1 -alpha extract -compose multiply -composite mask.png


Using this code, I have been able to create the following result:

Original:



Mask:



However, as you can possibly notice, the mask misses out part of the hair, which as can be observed in the original image, is slightly tinted green. When I extract the hue channel, the following image is generated:



As you can see, the hue channel also shows that the hair takes on a green hue.

How do I preserve the hair while removing the green chroma key?

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 query : Re: How to clearly see what is process and spot colors in the swatches palette How can you clearly see the differences between process and spot colors in the swatches palette in Illustrator? I

@Nimeshi706

In addition to viewing the swatches as a list....

Spot colors swatches have a spot on them.....




Standard process swatches have no corner indicator.
Global colors have a white triangle in the lower right corner.
Spot colors have a white triangle with a spot on it in the lower right corner.

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 query : Re: Illustrator - communicating with printing company I want to send some artwork (signs) to a printing company - about 20 designs, with varying quantities printed. Each sign is on it's own artboard

@Nimeshi706

Send each print project separately. That means split your AI document into 1 artboard per project. And you can then designate the quantity desired for FileXXXX.pdf, etc.

With varying quantities, relying on any other method is a recipe for errors.

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 query : Re: Create new photos from a photo based on variations of an adjustment I have a picture here and I want to apply an adjust (brightness for example) and save like 40 pictures, each one with a

@Nimeshi706

This took me a lot of efford...

First you save the code at the bottom as AddNumberPng.jsx, or whatever you want in the Photoshop Scripts Folder.

Now edit the code and change the directory to your desired folder. In the code below it is "~/Desktop/MacWin".

Restart the Photoshop just in case it is open.

Create a new adjustment Layer. In my exemple I created a Brightness/contrast with a brightness value of 5.



With the adjustment Layer selected, Create a new Action.

Press Ctrl + J to duplicate the adjustment Layer. This will increase its value.

Go to Menu > File > Scripts> AddNumberPng.

Stop recording the Action.



Everytime you play this action your file will be saved in the desired folder with a name0001.png, name0002.png… and increasing the adjustment effect by 5.

The code:

#target photoshop
app.bringToFront();
main();
function main(){
if(!documents.length) return;
//amend to suit
var folderPath = Folder("~/Desktop/MacWin"); //You can change this directory
if(!folderPath.exists) {
alert("Output folder does not exist!");
return;
}
//this should be the first part of the filename
//I.E. if file name = Picture0001.png it needs to be Picture
//N.B. it must be the same case!
var fileName = "filename";
var fileType = "png"; //Leó 22/02/2018
var fileList = new Array();
var newNumber=0;
var saveFile='';
fileList = folderPath.getFiles((fileName + "*." + fileType));
fileList.sort().reverse();
if(fileList.length == 0){
saveFile=File(folderPath + "/" + fileName + "0001." +fileType);
activeDocument.saveAs(saveFile, SaveDocumentType.PNG, true, Extension.LOWERCASE); //Leó 22/02/2018
}else{
newNumber = Number(fileList[0].toString().replace(/....$/,'').match(/d+$/)) +1;
saveFile=File(folderPath + "/" + fileName + zeroPad(newNumber, 4) + "." +fileType);
activeDocument.saveAs(saveFile, SaveDocumentType.PNG, true, Extension.LOWERCASE); //Leó 22/02/2018
}
};
function zeroPad(n, s) {
n = n.toString();
while (n.length < s) n = '0' + n;
return n;
};

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 query : Re: Making dark areas lighter on a wood texture I'm trying to find a method to make a wood texture more homogeneous in Photoshop. What's the best approach to achieve this? (I only found tutorials

@Nimeshi706

Obviously the wanted general wood color is well visible only in few places, others are grey or too dark. A quick check in LAB color mode shows clearly the fully grey areas, which will not get any color otherwise than by adding it:



One way out:


Make a new layer and fill it with the wanted color; pick it from a light point and use the paint bucket





Make a copy of the image layer. Apply to it Highpass filter to bring up the local brightness variations. Find a radius which kills large area variations, but saves the texture. No matter if the color vanishes:





Move the original layer to top, but keep it closed temporarily to see the others. Give to the picked base color layer blending mode=color. The high pass filtered version gets it. Add a Curves layer to stretch the tone range of the filtered layer:





Find a good mix with the original by adjusting the opacity of the original layer:




A lot of variation is available by inserting an adjustment layer that affects to the original image, There's the "next layer only" switch, click it ON. Possible adj layers for this to try:


Hue/Saturation
Curves


Here's an example with the curves layer:



The opacity of the original layer is adjusted higher because it's now not as dark as it initially was.

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 query : Re: Using the pen tool for drawing a geometric pattern I'm very new to illustrator and I'm trying to create a card for a baby birth. One of the things which I would like to place on the card

@Nimeshi706

Look in the stroke panel.

There are some optios Cap and Corners.

In my opinion, the round one is the best option for your work.

Enabele the snap (ctrl + U) to control the position of anchors.

See the image below:

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 query : Designing a video mock-up with a placeholder image How can I place an image/design onto an object that is moving? Like on a guy's t shirt who is walking for instance. In other words, how

@Nimeshi706

Posted in: #Adobe #AdobePhotoshop #Designers #HowTo #Video

How can I place an image/design onto an object that is moving? Like on a guy's t shirt who is walking for instance.

In other words, how can I create a t-shirt video mockup like the ones in Placeit without using Placeit? Editing image mockups is relatively easy thanks to PSD files but how can I "paste" an image/design into a t-shirt that is moving?


What specific skill do I need to learn how to do this?
What software would I need?
Do I need to shoot the video with the actor wearing a white t-shirt as shown on the website?
Is there some kind of file (like a PSD) for this?


Here's a link to what I'm referring to.

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 query : Re: Adjusting generated colors to make them more subjectively pleasant Is there any formula or correction values for r, g, b channels, that takes into account visual perception of color and will

@Nimeshi706

It is impossible to create "pleasant looking" colors for everyone. There's no formula which can be used. Every single person on earth has their own biases and preferences. There's no such thing as "universal acceptance" when it comes to color or artwork.

Due to inherent frequency differences in various colors, it's also practically impossible to "match" the saturation/vibrance between some colors, especially opposing colors and especially using some formulaic approach. Some color ranges will naturally appear more vibrant than others. Therefore universally applying the same adjustments will pretty much always make some colors fall within your desired range, while other colors are way too over corrected.

Your current approach is as good as any. Find what works for you or your team, because ultimately that's all you can do.

Color choice is far more of an art, than a science. You can't force math to work regarding human perception.

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 query : Re: View / save pattern transformation (Illustrator) I have a pattern in Illustrator. I have transformed the pattern (scale, rotate, etc.) within an object. The pattern is only transformed within that

@Nimeshi706

You can't get the data you are wanting.

However, if you utilize Graphic Styles you can save transformations so they can be reapplied later to other objects.

Graphic Styles are specifically designed to store appearance settings and then reapply them with a single click.

Adobe Help for Graphic Styles

The only aspect you are seeking that is not covered by graphic styles is the "update parent pattern". This might be possible depending up what you are expecting. But if you edit a pattern swatch in AI.. all applications of that pattern swatch change. So combined with graphic styles, it may be possible.

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 query : Re: Inkscape: remove stroke preserve size/shape I've created a path with a stroke and a fill of the same color, and I'd like to remove the stroke while preserving the size/shape of the object.

@Nimeshi706

1) select the object by "edit paths by nodes (F2)". it is 2nd item on left.

2) CTRL+X / Cut

3) Again select the object

4) Go to Object -> Fill and Stroke

Now you won't have white borders when you color the object.

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 query : 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.

@Nimeshi706

I don't wish to come across too harshly...

Lighting in photo composites is the hardest, most difficult aspect of any composite. You need to ensure all lighting is seen as coming from the same direction(s). ANY variation on that immediately ruins all "realistic" impressions you may be trying to convey.

You've got multiple light sources in the image, all varying. And that is disregarding the huge "radial blur flare + vignette" in the center of the image. To be frank, the only thing that flare appears to be lighting is the center of the image and the edges.. nothing internally at all. It looks "slapped on" last minute.



The yellow circles/lines show where primary lighting seems to be. Note that it is different for the rocks and the girl. It's clearly not the same light source.


The hard shadows on the rocks indicate the light is high in the sky because there are little to no cast shadows.
The bright arm/face/shoulder of the woman indicates the light is above and to the left of her face.


The magenta circles/lines indicate secondary light sources -- Lighting which is not a bright but clearly casting shadows. This is often due to ambient lighting as opposed to direct lighting.


The shadow on the woman's dress and left arm would indicate a lower, less bright light source somewhat behind her.
The shadow being cast by the woman indicates a wildly different light source far away from her and low in the sky. The higher the light source the shorter cast shadows are.


Painting light is a difficult task. It takes a lot of practice to get good with it. And in photo composites it means you often need to remove existing lighting in order to render similar lighting. Again, very difficult and takes a great deal of practice to get good at it.

The methods to paint proper lighting would be far too much to go into detail here, but you can search the web for "How to Paint Lighting" and you'll get some good resources that way [1],[2].

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 query : Cannot modify my handcoded SVG with Illustrator I've handcoded a logo for my website with SVG markup in a text editor: https://codepen.io/Deka87/pen/LQzgrz?editors=1000. I saved its contents in a

@Nimeshi706

Posted in: #AdobeIllustrator #Svg

I've handcoded a logo for my website with SVG markup in a text editor: codepen.io/Deka87/pen/LQzgrz?editors=1000.
I saved its contents in a brand.svg file and tried to open it with Illustrator to save as a PNG image. I got no error messages (e.g. those that the svg is not valid), however it appeared as a blank white image there.

Is there anything I missed while handcoding the SVG? Any help would be highly appreciated.

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 query : Re: How much control over line breaks should I exercise in a formal letter? How much control over line breaks should I exercise in a formal letter? I have a quote of the text of an email message,

@Nimeshi706

@Ovaryraptor has a solid answer with respect to print. I can't add much to that, other than to perhaps provide a little trick.... margins. If you find you've got several widows/orphans you don't want. Adjust the margins slightly rather than changing tracking/kerning for a single line/paragraph. A reader isn't really going to consciously acknowledge margins, but they may offer you some more room to play with line breaks.

For email...


If plain text: you can really only play with max column width. Many email client provide a "line wrap" or "Line length" or "column width" preference. It's usually denoted by a character count - i.e. "wrap text at 70 characters" This will basically hard wrap plain text at that set width. I generally use 80 characters and it's pretty good. If necessary you might consider dropping it to a slightly smaller character count to allow different wrapping on send. However, overall you shouldn't bee too concerned with line wraps in plain text emails. All email clients will read the plain text differently and you really can't control much once the email leaves your system.
For HTML emails you can use responsive type sizes setting a max width for columns and then using type sizes such as vh or vw (viewport height/viewport width) to adjust type sizes. More Info. Breaks can be a difficult issue. See here for a question regarding responsive line breaks. It's a few years old and sinc that time I've found the best practice for myself is to use <br class="break"> then use the class with display: none; to hide teh line breaks on smaller devices.

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