Our friends over at Creative Market always offer some great design stuff. Check out their site to get their free “Pressed Flowers Photoshop Brushes” absolutely free! And while you’re at it, sign up to be on their email list. That way you never miss a free give away or deal on some great themes, fonts, graphics and more!
These brushes actually come right on time for Mother’s Day if you were planning on designing something special on your own.
Last Saturday was World Graphic Design Day, April 27 marks the birthday of Icograda, the International Council of Graphic Design Associations. Established in 1963, Icograda marks its 50 anniversary on 27 April. This celebration was launched in 1991 as World Graphics Day. It is an opportunity to recognize communication design, and its role in the world, and to celebrate the birthday of Icograda.
International Council of Graphic Design Associations (Icograda) was founded in London in 1963. Icograda is the world body for professional communication design and visual communication. Icograda network members include professional associations, design promotion bodies, design media and design education institutions. Design media are affiliated through the Icograda Design Media Network.
Ours is one of the most influential professions in the world. It shapes the daily lives of people everywhere. World Graphics Day is an opportunity to recognise communication design and its role in the world. Communication designers around the world, connected by a passion for their profession, are asked to take a moment to collectively feel pride in the work they do in their communities. Let’s reflect, and hope that our profession will continue to contribute to a better, sustainable world. What an amazing time to be a designer! We can see events unfolding all around the world. We can communicate instantly with each other in many different ways.
To commemorate this date we will showcase some designs created along the years for the World Graphic design Day.
Last week I was talking with a colleague, young designer who was curious about the idea of Serif and Sans Serif. We got into a log conversation, that could probably had no end. Then I remembered writing this article a while ago where we discuss the diference between Serif and Sans Serif.
Typefaces can be divided into two main categories: Serif and Sans serif. Serifs are semi-structural details on the ends of some of the strokes that make up letters and symbols. The printing industry refers to typeface without serifs as sans serif (from French sans, meaning without).
Ancient wisdom tells us that we should use sans-serif fonts for titles, headers, and other short blocks of text, and serif fonts for the main body of the document. The reasoning behind this has to do with the purpose of the serifs. The serifs on the letters are designed to pull the text together, making it easier for your eye to transition from one letter to the next, then from one word to the next. In effect, the serifs ‘pull’ you through the document, and in doing so make the text easier to read. Therefore, long blocks of text will be easier to read if they are written with a serif font. Sans-serif fonts work well in short blocks of larger text, what you would typically find in titles and headings.
Great variety exists among both serif and sans serif typefaces. Both groups contain faces designed for setting large amounts of body text, and others intended primarily as decorative. The presence or absence of serif forms is only one of the many factors to consider when choosing a typeface.
In traditional printing, serif fonts are used for body text because they are considered easier to read than sans-serif fonts and thus are the primary choice for lengthy text printed in books, newspapers and magazines. Sans-serif fonts are more often used in headlines, headings, and shorter pieces of text and subject matter requiring a more casual feel than the formal look of serifed types.
Typefaces with serifs are often considered easier to read in long passages than those without. However, studies on this matter are ambiguous, suggesting that most of this effect is due to the greater familiarity of serif typefaces. As a general rule, printed works such as newspapers and books almost always use serif typefaces, at least for the text body. Web sites do not have to specify a font and can simply respect the browser settings of the user. But of those web sites that do specify a font, most use modern sans serif fonts, because it is commonly believed that, in contrast to the case for printed material, sans serif fonts are easier than serif fonts to read on the low-resolution computer screen.
Serif fonts can be broadly classified in one of four groups:
Examples of old style typefaces include Garamond, Goudy Old Style, and Palatino.
Common examples include Bodoni, Didot, and Computer Modern.
They are among the most common, including such widespread typefaces as Times New Roman and Baskerville.
Examples of slab serif typefaces include Clarendon, Rockwell and Courier.
Sans Serif fonts can be classified in one of four groups:
A few examples are Akzidenz Grotesk, and Franklin Gothic.
Examples include modern designs such as MS Sans Serif, Helvetica, Univers and Arial.
A few examples include Calibri, Lucida Grande, Segoe UI, Myriad, Frutiger, Tahoma and Verdana.
A few examples are Futura, ITC Avant Garde, and Century Gothic.
So what does this mean to you? Well, it always seems to come back to the primary purpose of the document. If you are creating something whose primary purpose is to be printed on paper, then the typical sans serif for titles and headers, serif for the body of the text is probably best. However, if you’re creating something that will primarily be viewed on the computer, you are probably better off sticking with a sans-serif font for everything.
Many graphic designers had been wondering what’s new in the recently launched Photoshop CS6. In this post we will see some cool features of this software.
- Field Blur
- Iris Blur
- Tilt T Shift
- Broken Effects
- Image Deblurring
Layer Search – Search for layers by layer type, name, effect, blending mode, color or by large range of attributes. Want to find all layers that have a pattern overlay layer style? Just search for effect and overlay. CS6’s improved searching should make traversing 1000+ layer documents a whole lot easier.
Create shapes – If you know the exact size you’d like your shape to be, select the corresponding shape tool and click anywhere on the canvas, then type in the dimensions you’re after.
Layer Styles on Groups – Layer styles can now be applied to groups in the same way they can be applied to bitmap, vector and type layers. There’s many reasons why this is an awesome feature, but my main use for it will probably be to apply more layer styles to objects — you can now have two or more drop shadows by nesting layers inside groups and applying layer styles to the groups. In my opinion, this is a far better technique than using Smart Objects for the same purpose, because this will allow documents to scale and maintain quality.
On canvas dimensions – Moving and transforming now shows a small box on the canvas with related values, as you perform the adjustment. Far easier than watching the info panel out of the corner of your eye while you work. There’s some options to control how this works under the Interface tab in Preferences.
Group Clipping Mask – Layers can now be clipped to groups, allowing for some pretty wild masking possibilities. Use in abundance and in combination with group layer styles to impress.
User interface brightness – Photoshop CS6 ships with four different interface brightness options. The default is dark grey with white icons, giving CS6 a vastly different look.
Pasting from Illustrator Fixed – Pasting vector shapes from Illustrator now always aligns to the pixel boundary.
Copy and Paste Shape Attributes – Right clicking on a vector layer in the layers panel presents these two new functions. Copying the Shape Attributes puts the fill (be it solid or gradient) and stroke into a clipboard so you can apply it quickly to one or more layers.
Paragraph and Character Styles – These behave like Paragraph Styles and Character Styles in InDesign and many other design apps, letting you store a text style and apply it quickly to text throughout your document. You can even edit the master styles and have all instances update. Very handy for larger, text filled documents.
Strokes on Paths – Just like it says on. Handy, because you can use the vector strokes in combination with the stroke layer style for stroke on stroke action. There’s also some associated options, including dashed stroke editing that’s similar to Illustrator.
These are some of the changes and new features of the new version for this software. What other features have you notice in this great program?