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Bitmap flick #ai #illustrator
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KnowHowToDesign
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Bitmap shadow #ai
If you like bitmap shadows, creating them in Illustrator is easy, especially editable ones.
1. Place a gradient layer above the base color.
2. Add the Rasterize filter to the gradient in Bitmap mode with a very low ppi, transparent background, and the Clipping Mask option enabled. The higher the ppi value, the finer the grid.
3. If you have the Astute plugin, you can color the shadow using Phantasm—Shift to Color.
4. If you don't have the plugin, you can rasterize the shadow and then apply Trace, converting it into a vector.
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If you like bitmap shadows, creating them in Illustrator is easy, especially editable ones.
1. Place a gradient layer above the base color.
2. Add the Rasterize filter to the gradient in Bitmap mode with a very low ppi, transparent background, and the Clipping Mask option enabled. The higher the ppi value, the finer the grid.
3. If you have the Astute plugin, you can color the shadow using Phantasm—Shift to Color.
4. If you don't have the plugin, you can rasterize the shadow and then apply Trace, converting it into a vector.
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Fidelity #ai #illustrator
If you notice that the shape of the object doesn't align well with the Envelope Distort Mesh, drag the Fidelity slider in the distortion options all the way to the right.
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If you notice that the shape of the object doesn't align well with the Envelope Distort Mesh, drag the Fidelity slider in the distortion options all the way to the right.
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KnowHowToDesign
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Corners #ai #illustrator
You can adjust the shape of corners while drawing by using the ↓ ↑ keys.
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You can adjust the shape of corners while drawing by using the ↓ ↑ keys.
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KnowHowToDesign
https://www.youtube.com/@steblina
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Polar grid #ai #illustrator
A fantastic tool in Illustrator. To adjust the number of rings and dividers, press → ↑ ← ↓ while drawing.
If you need to adjust the density of the rings towards the center or edge of the shape, press X or C. To shift dividers back and forth, use F and V.
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A fantastic tool in Illustrator. To adjust the number of rings and dividers, press → ↑ ← ↓ while drawing.
If you need to adjust the density of the rings towards the center or edge of the shape, press X or C. To shift dividers back and forth, use F and V.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
Why I don't use a dark theme
If you read white text on a dark background for 2 minutes and then open a white website, your brain may experience a slight disturbance. Reading on a dark background is simply impossible.
Approximately 95% of software just invert their icons for a dark background, making it extremely challenging to discern them. While modeling on a dark background is okay, dealing with a small interface is not.
I also find it difficult to quickly see the boundaries of the palette and document, small inputs, and toggles, so I exert additional effort when working with a dark theme. In this sense, Spline3D is endlessly irritating.
For me, the ideal setup is a white working surface and a slightly gray interface. If I need to see how my colors look on a dark background, I simply draw a black rectangle underneath the artwork.
Approximately several guys, influenced by my gentle persuasion, have switched to the light side and are already expressing distaste towards the dark and black magic.
If you read white text on a dark background for 2 minutes and then open a white website, your brain may experience a slight disturbance. Reading on a dark background is simply impossible.
Approximately 95% of software just invert their icons for a dark background, making it extremely challenging to discern them. While modeling on a dark background is okay, dealing with a small interface is not.
I also find it difficult to quickly see the boundaries of the palette and document, small inputs, and toggles, so I exert additional effort when working with a dark theme. In this sense, Spline3D is endlessly irritating.
For me, the ideal setup is a white working surface and a slightly gray interface. If I need to see how my colors look on a dark background, I simply draw a black rectangle underneath the artwork.
Approximately several guys, influenced by my gentle persuasion, have switched to the light side and are already expressing distaste towards the dark and black magic.
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Greeking and Live Screen Drawing #indd #indesign
And here are some useful InDesign settings for you in the evening.
1. Preferences→Display Performance→Greeking Type Below. When you have a lot of text (book, magazine), the system will consume a lot of resources to render everything. This feature turns text into strips when you zoom or pan the document. I usually set values for the body, so headers remain readable. Works in High-Quality Preview mode.
2. Preferences→Interface→Live Screen Drawing. When set to Delayed, InDesign shows the new position of a dragged object with a frame. When set to Immediate, the object is visible throughout the dragging process. It also saves resources.
That's why, when I layout complex documents, everything runs smoothly for me, even though it's loaded with gigabytes.
——
KnowHowToDesign
https://www.youtube.com/@steblina
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And here are some useful InDesign settings for you in the evening.
1. Preferences→Display Performance→Greeking Type Below. When you have a lot of text (book, magazine), the system will consume a lot of resources to render everything. This feature turns text into strips when you zoom or pan the document. I usually set values for the body, so headers remain readable. Works in High-Quality Preview mode.
2. Preferences→Interface→Live Screen Drawing. When set to Delayed, InDesign shows the new position of a dragged object with a frame. When set to Immediate, the object is visible throughout the dragging process. It also saves resources.
That's why, when I layout complex documents, everything runs smoothly for me, even though it's loaded with gigabytes.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
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Style Pack #indd #indesign
Earlier, I wrote about the new Style Pack feature in the InDesign beta, but back then, it was not working so well. Now that it has been rolled out in the release, it works better. It can differentiate between lists, headings, empty paragraphs, and subheadings.
You just select your text and apply a style from the presets. The ready paragraph styles drop into the palette, and you can customize them.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
Earlier, I wrote about the new Style Pack feature in the InDesign beta, but back then, it was not working so well. Now that it has been rolled out in the release, it works better. It can differentiate between lists, headings, empty paragraphs, and subheadings.
You just select your text and apply a style from the presets. The ready paragraph styles drop into the palette, and you can customize them.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
Keith Cottingham
The guy who once designed the glass Apple logo and metallic screens for Autodesk. This happened around the early 2000s.
https://www.kcottingham.com/apple
https://www.kcottingham.com/autodesk
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The guy who once designed the glass Apple logo and metallic screens for Autodesk. This happened around the early 2000s.
https://www.kcottingham.com/apple
https://www.kcottingham.com/autodesk
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
Data Visualization
Guys who can flawlessly visualize data fall somewhere between Einstein and Le Corbusier in my value system.
The rest of the folks, for some reason, seem to settle for "gastrointestinal tracts" or "pies" when attempting to represent data. In the image below, there's a fantastic theme for visualization—data on storm warnings. It's executed in a rather unclear form, generating more questions than answers.
Why does it start from the right instead of the left (the usual reading direction)? The thickness represents the number of events, but what does the vertical position of the curve signify? What happens at the turns of the curve? Why do 1990 and 2010 merge the upper and lower date bands?
Why not mark leap years instead of just bolding every fifth year? Why not use the width between the years to show something interesting? And what about color-blind individuals? What is the number of warnings related to: the imperfections of measuring instruments in 1980 or the number of storms?
If you were to create a similar visualization but in the form of a population pyramid, you could extract much more interesting information. When creating data visualizations, try to find cool relationships and hidden answers to questions, then it will be organically beautiful and informative.
Clients often agree with my solutions, but sometimes, after seeing images from competitors, they are afraid to do something different. It becomes challenging to convince them otherwise. So, I have to feed them good examples.
Examples:
http://hint.fm/wind/
https://unhcr.github.io/dataviz-streamgraph-explorer/#types=1-2-3-4-5-6-7
By the way, I used to spend a lot of time on this site until the number of mediocre visualizations outweighed the quality ones. But occasionally, you can find good solutions:
http://www.visualcomplexity.com/.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
Guys who can flawlessly visualize data fall somewhere between Einstein and Le Corbusier in my value system.
The rest of the folks, for some reason, seem to settle for "gastrointestinal tracts" or "pies" when attempting to represent data. In the image below, there's a fantastic theme for visualization—data on storm warnings. It's executed in a rather unclear form, generating more questions than answers.
Why does it start from the right instead of the left (the usual reading direction)? The thickness represents the number of events, but what does the vertical position of the curve signify? What happens at the turns of the curve? Why do 1990 and 2010 merge the upper and lower date bands?
Why not mark leap years instead of just bolding every fifth year? Why not use the width between the years to show something interesting? And what about color-blind individuals? What is the number of warnings related to: the imperfections of measuring instruments in 1980 or the number of storms?
If you were to create a similar visualization but in the form of a population pyramid, you could extract much more interesting information. When creating data visualizations, try to find cool relationships and hidden answers to questions, then it will be organically beautiful and informative.
Clients often agree with my solutions, but sometimes, after seeing images from competitors, they are afraid to do something different. It becomes challenging to convince them otherwise. So, I have to feed them good examples.
Examples:
http://hint.fm/wind/
https://unhcr.github.io/dataviz-streamgraph-explorer/#types=1-2-3-4-5-6-7
By the way, I used to spend a lot of time on this site until the number of mediocre visualizations outweighed the quality ones. But occasionally, you can find good solutions:
http://www.visualcomplexity.com/.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
❤1
The significance of fonts
https://steblina.notion.site/The-font-is-more-powerful-than-the-color-c6e30b6e0add4cf7a81e02984e03da23?pvs=4
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https://steblina.notion.site/The-font-is-more-powerful-than-the-color-c6e30b6e0add4cf7a81e02984e03da23?pvs=4
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https://linktr.ee/steblina
Mesh color
Simply a way to blend colors and save them as PNG.
https://meshgradient.com"
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Simply a way to blend colors and save them as PNG.
https://meshgradient.com"
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KnowHowToDesign
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https://linktr.ee/steblina
Piece of concrete
The most beautiful and graceful piece of concrete I have ever seen.
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The most beautiful and graceful piece of concrete I have ever seen.
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KnowHowToDesign
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And now let's take a look at the cool project—the Jerry Garcia Wellness logo created by Pentagram. The musician was missing the middle finger of his right hand, which later became his personal symbol.
https://www.pentagram.com/work/jerry-garcia-wellness/story
In short, I really love this kind of identity play.
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https://www.pentagram.com/work/jerry-garcia-wellness/story
In short, I really love this kind of identity play.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
RGBCMYK
Most people worry that RGB colors may differ significantly from their CMYK versions, so they adjust the range of the first color space to match the second.
I'm not concerned about having color variations of my logos, ranging from the most vibrant to black-and-white or outlined versions. The limitations of one technology (printing, embroidery) shouldn't affect the appearance of another (screen).
My only concern is that the composition of blue is C70M20Y0K0 instead of C73M24Y13K4.
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KnowHowToDesign
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Most people worry that RGB colors may differ significantly from their CMYK versions, so they adjust the range of the first color space to match the second.
I'm not concerned about having color variations of my logos, ranging from the most vibrant to black-and-white or outlined versions. The limitations of one technology (printing, embroidery) shouldn't affect the appearance of another (screen).
My only concern is that the composition of blue is C70M20Y0K0 instead of C73M24Y13K4.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
Two nuances in layout
When a word with a negation or a preposition follows the slash (waiting outside/in a cafe/at a bus stop?), a strong connection is formed between the preposition and the slash, rather than the subsequent word. In such situations, I adjust the kerning around the slash to balance the distances.
What about the distance to the bullet point?
It depends on the font. On average, I try to ensure that the distance to the bullet point is at least half the height of uppercase letters. The bolder the bullet point, the farther I move it. If the distance starts resembling an issue, it means you've gone too far.
When a word with a negation or a preposition follows the slash (waiting outside/in a cafe/at a bus stop?), a strong connection is formed between the preposition and the slash, rather than the subsequent word. In such situations, I adjust the kerning around the slash to balance the distances.
What about the distance to the bullet point?
It depends on the font. On average, I try to ensure that the distance to the bullet point is at least half the height of uppercase letters. The bolder the bullet point, the farther I move it. If the distance starts resembling an issue, it means you've gone too far.
For folks dealing with diagrams and using various connectors: the stroke thickness of the connector (junction, circle) should be less than the line thickness to avoid looking too bold.
I usually set it to about 1/5 or 1/4 of the line thickness, but on very thin lines, the ratio needs to be even smaller.
Stay tuned; there will be a second post with a mind-blowing concept, even for those who have been in the game for 20 years.
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KnowHowToDesign
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I usually set it to about 1/5 or 1/4 of the line thickness, but on very thin lines, the ratio needs to be even smaller.
Stay tuned; there will be a second post with a mind-blowing concept, even for those who have been in the game for 20 years.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
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Object Contour Alignment
When creating maps, I often need to outline the contour for various purposes. Later, I need to precisely align the same contour to the seam, where Align won't work due to intricate geometry.
To attach a contour object to the shape's points, apply Effect—Path—Outline Stroke to the contour. Then simply drag the edge of the contour graphic as if it were a shape — snapping will work.
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KnowHowToDesign
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When creating maps, I often need to outline the contour for various purposes. Later, I need to precisely align the same contour to the seam, where Align won't work due to intricate geometry.
To attach a contour object to the shape's points, apply Effect—Path—Outline Stroke to the contour. Then simply drag the edge of the contour graphic as if it were a shape — snapping will work.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
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Radial Blur #ai #psd
You can move the center point of the radial blur (Effect—Blur—Radial Blur) to achieve an angle effect. The reference point will be from the object's frame. Works in Illustrator and Photoshop.
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KnowHowToDesign
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You can move the center point of the radial blur (Effect—Blur—Radial Blur) to achieve an angle effect. The reference point will be from the object's frame. Works in Illustrator and Photoshop.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina
It would be great if in all Adobe software, there was a timer in the bottom taskbar. It would respond to actual actions with tools and palettes and pause when Illustrator is simply open.
When you switch to adjusting a photo in Photoshop, the timer keeps running. You load a photo into After Effects—the timer starts.
Next to it, there could be a second timer for the file. You open yesterday's file — timer 2 continues. This way, you could track not only the overall working time in the software but also within a specific document.
——
KnowHowToDesign
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When you switch to adjusting a photo in Photoshop, the timer keeps running. You load a photo into After Effects—the timer starts.
Next to it, there could be a second timer for the file. You open yesterday's file — timer 2 continues. This way, you could track not only the overall working time in the software but also within a specific document.
——
KnowHowToDesign
https://www.youtube.com/@steblina
https://linktr.ee/steblina