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About gdenby

  • Rank
    Dedicated User
  • Birthday 08/17/1950

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  • Gender
  • Location
    "Michiana," USA
  • Interests
    CG, obviously. Traditional visual 2d and 3d art. History. Music, piano emphasis. Nature conservancy, gardening, cooking.

    Too old for martial arts or treking.

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  1. The Serif made tutes are on Vimeo. Check this one A quick .mov file I made showing how the manipulation of a pen line is displayed real time in the transform panel. LineSize.m4v Anecdote. I come from a different frame of reference. When I got my 1st personal computer, and it came w. 2500 pages of docs on how to use it, I was thrilled, and couldn't sleep for the next 3 days. And I didn't even have to make punch cards or teletype tapes. Whee!
  2. Turn on snapping. Have "snap to spread" enabled. There will be a green vertical line showing when the object is at the V center, red for the H center, both for page center.
  3. Hi, TBUA, For doing traditional bit map painting, Photo is a little better than Designer. Both benefit greatly when used w. a tablet. I infer from your 1st post you mostly work on paper. In Designer, the "pencil" is a specially designed tool to turn hand motion into a geometric vector representation. At this point, Designer does not have a vector eraser. The best on can do is delete individual nodes of the stroke, or break it into smaller pieces. There is an advantage to this. The strokes can be infinitely adjusted, repositioned, duplicated, made to have different thicknesses, etc. Designer has a very nice tool called the vector brush, which works much the same as the pencil, but stretches or repeats a bit-map along the stroke. Here is an analogy. Working w. vectors is a bit like making a collage, or setting up a mosaic. Erasing really isn't an option.
  4. Just select 1 curve, and make sure its stroke is set to .5. Use the Edit/copy command, and then select all the others. Then use the edit/paste style command. This will transfer the .5 stroke attribute to all the selected at once.
  5. Looking at the drawing, I have to think the different drawing portions are not objects, but groups of curves, or just curves associated by placement in space.. Each curve would have whatever the line weight that the tool that made it had when in use. The line weight panel you show only applies to the stroke as it will be applied currently, not how it was applied before. I hope that made sense, 'cause I'm inferring a lot from looking at the screen shot. If you select 1 layer(curve) that does in fact have a .5 stroke, and copy it, the rest of the the curves can be selected, and have "paste style" applied, which will transfer the .5 line stroke attribute to all. Its been years since I last used Illustrator, but layers in AD vs. AI do not quite refer to the same thing. If my recollection is correct, an AI layer can be a group of objects placed on a sheet of tracing paper, as it were, to be hidden or exposed as needed. AD layers can also be hidden or exposed groups of object. But there is a hierarchy of effects and clipping within AD passed between the top most layer, and each underlaying ones.
  6. Hi, GrimR, When you draw a rectangle, you should get a H & W readout as it is made. Typically, snapping to grid needs to be turned on for size changes in regular increments. But if working free hand, after the rectangle is roughed in, one can use the transform studio panel, usually located at the bottom right corner, to enter exact sizes and positions. If using the pen, select the polygon line mode, hold down the shift ket, and the lines will be constrained to horizontal, vertical, and 45 degree directions. Expect to spend some time looking at vid tutorials, and puzzling out the help files. Once you get the hang of it, the app is really easy to use.
  7. I s'pose cursive fonts might generate too many nodes when expanded. But for simple text, works OK. First attachment, Text at 128 pt., 2nd, 12 pt. Pretty much the same using subtract, top character, or expand.
  8. Thanks for the post. I will have to try that. Always good to have another bit of finesse.
  9. Hi, graf, That is how divide works when there is one vector inside another. Each becomes its own solid shape. You then have to select each pair, and subtract the inner from the outer. A slightly easier method is to create the text, set the fill to none, and make a stroke set to inside thick enough to fill the shape. Convert the letters to curves, ungroup, and use command expand curve.
  10. I only worked on the image. I haven't looked much at the articles text. I've had some success, but have had to use a much different approach. Attached is a sample. I think the text and photo areas might need to be reworked as selected areas, so the grey scale image are and the nominally black and white text each have appropriate treatments. On my Mac, if I'm logged into the board, and click on the image, when it opens in its own frame, I can just drag it to my desktop.
  11. Hi, American, I don't do much more than dabble w. Photo, but attached is what I was able to do. Sadly, I forgot to save with history, so here's what I remember. Crop and rotate. Use invert adjustment. Select the pixel layer, and apply frequency separation. I used a small percent change on the low pass side. Tossed the high pass that had all the little squares. Did an extreme luminance denoise. Played w. shadows and highlight setting, but decided it wasn't warranted. Used the clarity sharpening filter.
  12. Hi, kateo, My understanding of SVG syntax is rudimentary. What I know of XML is that "xmlns" is used to disambiguate terms that might have the same letter set, but mean different things in different vocabularies. I'm guessing that the declaration (xmlns:serif="http://www.serif.com/") is a way to clarify that the term serif, usually part of a letter form, can mean in the file a reference to the Serif corporation. Why Canva has a problem w. that, I'm pretty much clueless. Cut it out of the file, and see if Designer has a problem. I've used svg files from various sources, none upon quick review have the line you posted, and they open fine w. Designer. Its only when I mangle the file w. clumsy larger scale editing that I get errors.
  13. Hi, JuanGea, I looked at my pure vector files. I have some w what seems a lot to me, 17K+ objects, but none were near the file size you mention by an order of magnitude. So I generated a file w. 1.5M+ rectangles, with several clipping layers. Those were half the size of your smallest file. At that size, my machine, see sig below, could not redraw the vectors w/o seconds of lag. It was not as bad as much smaller files w. lots of fx, but the display did stutter. I s'pose you might need to come up w. a visual short hand for the expanses of floor boards and tiles, rather like what would have been done when using pen and ink. Put in a little panel showing the shorthand representation w. a small sample of the complete representation. In other words, 8 squares placed irregularly instead of 64. Floor boards, a couple of dashed lines
  14. Hi, Michael Shaver, Most of the "pop" has less to do w. the colors, and much more to due the luminance value of each area. Contrast is not the quite quite right term, because there is both color and B & W contrast. The eye mostly sees in grey scale, elicited from the large numbers of "rod" cells.. The larger the difference between B & W, the clearer the form is. Use an HSL adjustment on the original image, drop the saturation to zero (no color) and note that the image by its luminance still shows clear forms. Note how the colored eyebrows, nose and lip lines become close to black. Their color was not very important to see those as prominent features. The color issue, from my understanding, is this. The "cone" cells have the strongest response between antagonist colors. The shape is defined by differences between opposite colors. Blue vs yellow, red vs green. etc. Standard art teaching I received was that warm colors stand in contrast to cool colors. This is a very inexact description. For instance, a saturated yellow has a perceived luminance above 90%, while a saturated blue is in the low 40%. In that case, the luminance perception based on the color alone is much more dramatic than from other color pairs. If there are areas of high color contrast, the receptors get tired rather quickly, and if one stares off to look at a neutral grey, one will see the image in the reverse color scheme. This was often used in late '60s Op-Art to produce novel transient effects while viewing the art work, and experiencing the effect during the normal saccadic eye trembles. However, if one does not bump together antagonist colors, but ones within the same color range, there is a boost effect. Resonance, if you will. If there is a luminance variation, the shapes remain clear, but the color perception remains high for a longer time. Eventually, the cone cells will tire, but the immediate response is a perception of very intense colors. Note how in the "Mystic beast" the yellow to red shapes are separate from the blue-ish ones. There isn't much "antagonist" variance as if they were interspersed. Hope this helps you get a handle on the topic.
  15. Hi, Karina, I don't do this sort of work much, but I recalled the Daub papers tile seamlessly. Just tried a few, and they did. Drag the asset onto the workspace, and duplicate it over and over to fill the space. Then use the menu "File/Edit in photo" In Photo, according to the Daub tutorial, the paper is used as a mask for the brush strokes. The paper texture blends w. the color stroke, adding the light or dark changes from the paper bumps.