I normally create my website designs in Photoshop – mostly because I find the pixel based platform the most conducive to HTML conversion. However, when the time comes to carry a client design over to print in a brochure or large format sign, I rely on Illustrator and InDesign to construct the design files to ensure a crisp and clean end result.
Today I hit a snag. I had applied a Hue/Saturation Adjustment Layer to a vector smart object in Photoshop, but when I went to use that vector graphic in InDesign, I no longer had the ability to use that same Hue/Saturation adjustment. I was faced with the insurmountable task of adjusting all the individual colors through EDIT > EDIT COLORS > RECOLOR ARTWORK, which was very time intensive and about 30% of the way through I noticed it wasn’t really coming out right.
With a bit of research I found the Phantasm Adobe Illustrator Plug-in. Thanks to their FREE 7 day trial, I was able to convert the graphic over to the correct hue within a matter of seconds using the exact Hue/Saturation settings that I was using in my Photoshop adjustment layer. I also played around with the other tools that come with the plug-in like Curves, Levels, Duotone, etc. It was very intuitive, and frankly I’m quite surprised that this feature doesn’t come STANDARD with Illustrator, as it is a natural carry over for us designers who use the entire Adobe Suite and like to have similar tools across the board.
Needless to say, the moderate $49 license fee will be money well spent to ensure I have the tools I need to work effectively and efficiently on all my design projects. KUDOS to Astute Graphics for a job well done on a well built and extremely useful Adobe Illustrator Plug-in.
I consider myself an avid typographer. Fonts and type have always intrigued and interested me. A typeface can completely change the feeling and meaning of words. I have typography running through my veins – my blood type is HELVETICA. (true story)
Fonts.com just sent me their newsletter and the opening featured font was Rabenau. The font is clean and has some interesting characteristics to its serifs. Also – as seen in the sample – the lowercase g has an open descender giving it the feeling of a traditional type with hints of the handwritten style descender.
The quote they used to showcase this font is quite clever and cerebral, and would would not have the same feeling had it been set in a strict monospaced serif font like Courier or some wacky-looking font like Fun House. Granted the font doesn’t change the MEANING of the words, but it changes the connotation of the words and the way they make us feel.
This is a monospaced font. Every letter takes up the same about of horizontal space.
In most fonts four i's and four m's would not be equal
Monospaced fonts are often used to write programming code in because it makes it clearer to present and space out the lines of code and functions.
Helvetica – was specifically designed to overcome the emotions and undertones associated with a font and make the typeface itself TRANSPARENT and help bring clarity and true meaning to the actual words. I see Helvetica as the embodiment of the philosophy laid out by Beatrice Warde in her essay entitled the Crystal Goblet.
A lot of people think of me as the go-to “web guy.” Maybe it’s because I started typing my school papers in the 5th grade on an Apple IIe. Maybe it’s because I dream in HTML. Maybe it’s because I wish life had a “refresh” button like my favorite internet browser. Or maybe it’s just because that’s what I’m good at. Regardless of my my internet abilities, I LOVE working on projects that get printed on ACTUAL paper also. (No, don’t get all environmental on me! Paper has it’s place even in today’s world of green eco-loving-kindness)
Recently, we were working on a client project where the goal was to pull out all the stops and make a brochure that really POPS. In our exploration of available materials we came upon a few noteworthy papers that I would like to mention:
Yupo Synthetic: This stuff is amazing. It feels like a silky-smooth latex. A single brush with your finger serenades your senses to touch and rub the paper because of it’s distinctly intriguing texture – unlike anything else. In fact, their product is so alluring that their corporate slogan is “Do it on Yupo” (Hubba Hubba). It is waterproof, tear resistant, and 100% tree-free. It is available in a variety of weights and styles from 62 lb translucent text all the way up to a 144lb cover stock. The only downside to this product is the price – it is almost cost prohibitive to use it for a “normal’ project.
Touché: This is another paper that is just begging to be touched. It’s no wonder that they call it Touché. It has a soft, tactile, sensual feeling, and is very supple and durable. It is only available in thick cover stocks from .013″ to .024″ and comes in 6 standard colors: black white, cream, cool grey, burgundy, and slate blue. Custom colors can also be produced on request. The color scheme is very muted and the paper itself gives a feeling of a luxurious understated elegance. When combined with other techniques such as foil stamping, embossing, or varnish coating, it can give an unparalleled texture and appearance. Once again, not for the thrifty projects, this paper stands in a class all its own.
Kromekote Collection: Although the first two papers mentioned were noteworthy because of their tactile qualities. The Kromekote foil collection is a visually bold and striking paper. Their line of high-quality metallic papers delivers a dynamic visual appeal. The high-gloss reflective services of their foils mimic the look of real silver, black, gold and platinum metals and they even offer a ‘brushed’ metal alternative for silver and gold. If a small foil stamp isn’t BLING enough for you, then a Kromekote foil paper is just what the doctor ordered.
These are just 3 of the HUNDREDS – if not THOUSANDS – of papers available for your specialty project to make it really stand out! GO BOLD OR GO HOME!