Jacob Bugge
Community Expert
Jacob Bugge
Community Expert
Activity
Feb 24, 2025
Leah,
Maybe far too far out, but I believe that you may somehow confuse/overwhelm the printer(s) with all the differently (coloured and) dashed bottom lines on top of one another, and that maybe tiny differences in the positions of the bottom lines in the PDF cause the issue on certain pages and not on others.
"extra lines appear, coming from one of the corners"
Actually, they come from multiple corners, and at least the misplaced continuation of the fourth dashed line from the right (the bold one with two shorter dashes at the end of each long dash) comes from a position further to the right from that corner.
Therefore I would suggest your making a separate print version of the final pattern set, using Save As and adding Print to the document name, and then modify it as follows:
1) Delete the bottom segment of all the dashed lines except the outermost rosy coloured bold one with the long and short dashes;
2) Leave the rosy colured bottom segment dashed or replace it by a full rosy colured line (you can drag it out with the Line Segment Tool between the end Anchor Points).
You can also just do/try it to eliminate the cause of whatever is (not) happening, and to give a nice and simple appearance in print with/withour Colours.
As I see it, the use of that (rosy) colour would give a consistent boundary to the whole set, continuing the outermost pattern line.
After that, you can go back to the final pattern set for editing or as the basis for a new pattern set, leaving the print version behind.
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Feb 23, 2025
12:37 PM
1 Upvote
Hendy,
You can:
1) Choose the radius of the inner rounding (which may be the one you have for the spine);
2) Reduce both the Width and the Height of the rounded rectangle by the Stroke Weight so it corresponds to the (original) inner boundary of the Stroke;
3) In the Stroke palette choose Align Stroke to Outside.
That will give you the desired inner rounding and the corresponding outer rounding.
Otherwise, you can Outline the Stroke and then round the inner path in the filled Compound Path, but that will give a quite different look, and the filled Compound Path may be undesirable.
If you wish to have the same look as the 1) - 3) with a filled Compound Path, you can use Object>Expand Appearance and thereby retain the roundings.
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Feb 22, 2025
03:50 PM
You have a point, Michael, but I count on their being silly enough to tempt anyone.
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Feb 21, 2025
11:38 AM
In addition to what Doug rightly said, I believe the first step will be to rotate the image so you have the main lines (roughly, depending on the photo) vertical and horizontal including the bounding ones.
The approach will also depend on whether it is supposed to represent the appearance on the photo, which has been taken from a spot above the lower part of the roof, or represent a reproduction of the original floor plan with (many) right angles.
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Feb 21, 2025
11:00 AM
Optimistic,
I agree with Doug, of course. My own first thought was that the best way would be to scale the original logo sizes in comparable use (not one from a poster/billboard and one from a business card) by the same factor (or leave them as they are), with exceptions that can be dealt with individually (and must in any case).
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Feb 19, 2025
11:27 AM
Dave, mj, I was surprised at its being scary. It was a follow up on this, and I wished to include the props but ran out of time trying to find them again.
https://community.adobe.com/t5/photoshop-ecosystem-discussions/something-for-the-weekend-part-37-who-is-in-the-attic/m-p/10099315#M197717
There were some really scary attics back then, though.
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Feb 19, 2025
01:34 AM
1 Upvote
Nino,
The word flyer seems to imply the use of text (as parts or in full) rather than pure imagery, so the obvious choice of application would be InDesign.
You can get help with that here,
https://community.adobe.com/t5/indesign/ct-p/ct-indesign?page=1&sort=latest_replies&lang=all&tabid=all
It would be quite possible with the help of Illy (job description Adobe Illustrator) too.
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Feb 18, 2025
12:25 PM
xiandavis,
Now that is a surprising solution.
Thank you very much for sharing.
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Feb 18, 2025
11:07 AM
Rachel,
You need to use the Delete Anchor Point Tool, the one with the -
You already knows what happens if you use the normal Anchor Point Tool while holding Shift, and it can be used for other purposes.
Without the Shift, the normal Anchor Point Tool works as the Delete Anchor Point Tool.
All when applied to an Anchor Point.
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Feb 18, 2025
10:53 AM
cbaft,
It is indeed different to the original letters. Are they in the same Layer of the same document?
It looks more or less as if the Rasterize Effect is turned on, or Anti-Aliasing is turned off in the Preferences.
The former will hit only the object (or Layer if applied to that), and can be seen in the Appearance palette when the object (or the Layer) is selected
The latter will hit everything.
Is it also happening if you create a new Document and try the same?
I shall ponder and maybe come up with something even sillier.
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Feb 15, 2025
04:43 AM
Fuland,
In this particular case you can simply scale the design by the difference in one template path segment, such as the horizontal one at the bottom or the vertical one between sleeve and bottom, because the different T shirt size templates have the same proportions.
However, I doubt whether the proportionate size templates is a sound approach. The general approach is different changes in size (and shape) of each template part with the corresponding mutual adaptation, this approach obviously applied differently depending on choice of builds to fit.
Have you made the templates or are they existing ones?
Anyroad, with an uncomplicated design as the one shown, I believe you can safely centre it and then simply scale it horizontally by the width (bottom/sides) and horizontally by the height (bottom to neck).
As always, it is good to assess the appearance (size and especially position) in each case.
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Feb 14, 2025
03:37 PM
1 Upvote
Dave, now we only need 1000 more SFTWeekends to reach the special 1234 mark.
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Community Expert
in Photoshop ecosystem Discussions
Feb 14, 2025
12:46 PM
11 Upvotes
Feb 14, 2025
12:46 PM
11 Upvotes
Click to get closer, Click again to get closer still
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Feb 14, 2025
11:14 AM
1 Upvote
Truly astonishing, Leslie, in this
winter weekend where we work with wee ones.
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Feb 14, 2025
09:02 AM
7 Upvotes
Click to get closer, Click again to get closer still
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Feb 13, 2025
10:04 PM
It started by my spotting the distinctive different colouring and clicking the circle with the arrows to have a closer look.
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Feb 13, 2025
09:34 AM
Dave, in the paler circle, mostly in the original 7, followed by the paler Veo.
Click to get closer, Click again to get closer still
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Feb 12, 2025
01:57 PM
Jber,
I am afraid there is only this in plain text, no screenshot or image: [image: Tach.png]
Hopefully you can get it to work, preferably with the usual use of the Insert Images button which makes it show in the post, just as in the OP. It works just as well with PNG as with JPEG.
I have wondered what determined the choice of (increasing) spacing in the first place since it was quite different to the existing coarse equal spacing one unit each.
I should love to see the spacing you arrived at, if possible, also to know whether the suggestion could be improved.
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Feb 12, 2025
09:23 AM
Each and every one of your gauge sets is a pleasant challenge, Jber.
Remember that whichever Stroke Weight you choose for the has marks, the midline in 0) has to be 1pt because the width of the Art Brush = the length of the hash marks grows/shrinks if it is more/less.
I look forward to your findings.
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Feb 12, 2025
05:03 AM
This has been edited a few times since yesterday evening, latest at about 1PM, GMT.
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Feb 11, 2025
02:52 PM
Nice to see you again, Jber.
The space increase in your image seems improbable, especially at the beginning.
Depending on the way you wish/need the increase, you can, Smart Guides and the Line Segment Tool being your friends:
0) Create a midline for the set with the right length, angle span, and position, and a Stroke Weight of 1pt;
1) Create a horizontal set of vertical lines with the desired number, Stroke Weight and length, and increasing distance, in the most convenient way, which may be the Effect>Distort&Transform>Transform Effect with a suitable low Horizontal Scale and a suitable Horizontal Move and the deired number of tick marks that is expanded afterwards;
2) Object>Expand Appearance;
3) Turn 2) into a new Art Brush in the Brush palette;
4) Select the midline from 0) and apply the new Art Brush.
You can go back and forth, trying out different values and go back and forth between the steps; keeping backups of different versions of the artwork and Undo are also your friends.
If you wish to have the area shown as a frame, you need to add a horizontal line at top and bottom to the final version of the expanded horizontal set in 2), as follows:
1+) Ungroup the set twice, and Group the set again, then Join the first and last lines (you can deselect and then Direct Select the top Anchor Points and Ctrl/Cmd+J and do the same for the bottom ones, to turn those lines into a rectangle; it is safest to set the Cap to Butt (for the whole Group).
Below is shown a sample made as follows, just to give an impression
In 0) the midline is shown in red (at the very bottom), made as 45 degrees of a circle (originally with W=H=720pt, and rotated to start at 30 degrees from vertical corresponding to 40, going anticlockwise).
In 1) everything starts with a 30pt vertical line (Stroke Weight 1pt, Butt Cap), then Effect>Distort&Transform>Transform with a Horizontal Scale of 101% and a Horizontal Move of 5 pt (to start with, which will then increase) and 60 Copies (random number); the rate of increase increases with the Scale; you can try out different combinations till you hopefully get it right. You can already get a basic impression by this.
In 2)/3), The set is shown without and with the horizontal lines (possibly) added in 1+.
In 4) the final result is shown without and with the horizontal lines
Click to get closer, Click again to get closer still
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Feb 11, 2025
05:02 AM
Henrik, Dave, mj,
All this reminds me of L'armata Brancaleone, including both jousting and an undecided contest of leadership over the armata in which the two knights fell hay a whole field of corn (swords) and a tree (battle axes).
I am convined the film about those and many other feats was an inspiration for a film about the holy grail almost a decade later.
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Feb 10, 2025
11:27 AM
Michi,
Owing to my (mis)understanding of DXFs, I should have expected polylines at the rounded corners instead of curved paths. Were they original, or have you created them? If the latter, I believe you could have made them as part of a continuous path with no need to join afterwards.
And if still applicable, I would suggest a different approach, namely to create an angular version of the DXF artwork, or preferably the AI artwork which could be simple to create, with sharp corners throughout, and then use the Join Reasonably script suggested for each final path, and then round the relevant ones (with the same radius for consistency), starting with the Round Corners effect (which can later be Expanded).
In any case, before considering the Average way suggested, I believe it is worth testing in a few places (especially in connexion with rounded paths) whether the Anchor Points are actually apart or are coinciding, which I should expect in a DXF (at least for the straight paths. You can do that by simply Joining and then looking at the number of Anchor Points in the Document Info palette: 2 paths with 2 Anchor Points = 4 in total; with coinciding Anchor Points at the joint, it will become 1 path with 3 Anchor Points, otherwise 4 with 2 at the joint.
If there are non coincident Anchor Points at the joints, you may consider whether it really matters with the intended use.
It is worth noting that non coincident Anchor Points are the result of an inaccuracy, and that averaging merely replaces it with another inaccuracy which may be worse especially because the angles of (some of) the straight lines/segments will change, in contrast to the simple joining where the angles will be unchanged. If needed I believe it would be better to keep the most important Anchor Point in place (one on a straight path that is vertical or horizontal where a change could be more conspicuous).
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Feb 08, 2025
05:30 PM
Vladislav,
I am unsure whether you use it already, but otherwise you can ease the pain with the Line Segment Tool by ClickDragging from the Handle into the Anchor Point, snapping to both; and you can easily move the line to the other side of the Anchor Point (ClickDrag by the Handle end to snap); and you can easily extend the length of it.
For angles, you can rotate the (Line Segment) line round the Anchor Point by a specific angle (select the line and Alt/OptionClick the the Anchor Point with the Rotate Tool) if applicable, otherwise your circle way is fine as it is.
Smart Guides are your friends.
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Feb 07, 2025
10:37 AM
toolman,
How about the Free Transform Tool?
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Feb 07, 2025
08:40 AM
Euan, this greatest leap in development may also be the most astonishing SFTW challenge title interpretation ever.
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Feb 07, 2025
07:45 AM
toolman,
Using rotation and Live Paint as suggested by Monika can be an easy native solution, if you know the angle (such as 45 degrees), or the basis of one depending on the actual case/your wishes.
You can avoid relying on establishing the outermost points within the corners by eye if you create longer vertical lines and then align them horizontally with the rounded rectangles.
If you do not know the angle, you can establish it with the Line Segment Tool by snapping to corresponding corners, and transfer it to the rotation Tool.
And then there is the free Common Tangents script in this free set of scripts by 佐藤浩之 (Satō Hiroyuki),
https://shanfan.github.io/Illustrator-Scripts-Archive/
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Feb 07, 2025
06:56 AM
toolman,
The CSS way shown actually gives the same as your very first top left image: just two rounded rectangles.
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Feb 07, 2025
03:41 AM
Trevor, to our friends in southern Europe, and especially Italians, 17 more or less corresponds to 13; and 9, also unlucky for some, is replaced on the board by the second 8. In Chinese based languages 4 sounds like death.
But most disturbing is the shady Theta, old symbol of death (thanatos) and used when casting vote for the ultimate punishment.
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Feb 07, 2025
02:24 AM
defaultt,
You need two of each, one as the default appearance and one to enter the Knockout Group, and the one that serves as the mass object needs to be at the top (obvioulsy, since the others are behind it), in this case the black one; and all paths have a stroke and no fill.
You can use the following steps, making sure the black one is at the top:
1) For the black path, select and Ctrl/Cmd+C+F (hold Ctrl/Cmd and press C then F) to create a copy in front, then lock the copy in the Layers palette (with the Layer expanded); this is the selected path, so easy to find;
2) Select the unlocked original from 1), then switch from stroke to fill, then set the Opacity to 0 in the Transparency palette;
3) For the other paths (red and blue and whichever additional paths you wish), select and Ctrl/Cmd+C+B (hold Ctrl/Cmd and press C then B) to create a copy in back, then lock the copy in the Layers palette (with the Layer expanded); this is the selected path, so easy to find;
3) For each of the other paths, ClickDrag over it with the Direct Selection Tool and apply Dashed Line as desired (you can hide the locked duplicate to see);
4) Select all the non selected paths and Ctrl/Cmd to form the Group, then tick Knockout Group in the Transparency palette enough times until you have a full tick mark;
5) Unlock all locked paths in the Layers palette; now you are ready to move;
To move any of the path sets round freely:
6) With the Direct Selection Tool, Alt/OptionClickDrag (hold Alt/Option and ClickDrag) over the path set(s) you wish to move to select it, making sure to avoid selecting other path sets that need to stay in place, then ClickDrag the path set(s) by any segment/Anchor Point to move to the desired position.
In 6), you can select multiple path sets (such as the red and blue one, avoiding the black one), so they are moved in the same way.
If you are unable to select all path sets you wish to move in the same way at the same time in 6), you can use ShiftAlt/OptionClickDrag (hold both Shift and Alt/Option and ClickDrag) to select the path sets in multiple steps.
The Alt/Option lets you select whole paths.
The Shift lets you select more path sets together; you can skip it for the first set, but it is simpler and safer to use it throughout.
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