Kalleheikki Kannisto
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COW Coin
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That is an initial capital (or “drop cap”). You can turn it off in the paragraph designer for that style. Just set the number of lines to 1.
A less likely scenario, it is a character format that has been applied in Word (or whatever the files is sourced from), in which case you can modify or, most likely, just delete that character format. May have to remove overrides in the paragraph panel afterwards to get fully rid of it, as it may remain as a style override.
Kalleheikki Kannisto
Senior Graphic Designer -
Cool, didn’t know that.
Kalleheikki Kannisto
Senior Graphic Designer -
On the (halftone) printing side of things there are some additional considerations:
1) The three places where banding most likely occurs in gradients are (in halftone printing):
i) where a given plate goes to pure white (from small dots to no dots at all)
ii) where a given plate goes over the 50% line (from black dots to reversed out white dots)
iii) where a given plate goes to 100% (small reversed out dots to flat color)i and iii above can be avoided by not ever going to full 0% or100% on any plate. It is a bit funky in that you don’t get a pure white or a pure black, nevertheless this approach can be used.
Anyways, knowing that, you can try and avoid situations where a number of colors go over those thresholds at the same point in the gradient.
2) The smoothness is proportional to halftone dot resolution AND actual printer resolution (those are two different things):
– Generating halftone dots at PRINTER resolution of 300, 600, 1200 and 2400dpi native printer resolution give you different results. Higher dpi is better.
– Larger halftone dot sizes compensate for lower printer output resolution, so 72dpi is smoother than 150 dpi. Of course, you’re more likely to see the dots at 72 dpi, so there’s an optimum value between the printer resolution and the halftone dot size. Up to a point, larger is better for smoother gradients. If the printer native resolution is very high 2400dpi or more, this hardly matters.
– Not all digital printers use halftone dots, so this may or may not directly apply to your printing scenario.3) As a result of the combination of the pattern generated by the printer, whether it is halftone or some other repeating pattern and the printer resolution you get banding at specific points along the gradient. Print out a white to black gradient and you will see where your printer has the biggest issues. The issues will be in the same locations on all the colors. The only one where it doesn’t really matter is yellow.
Similar to point (1), avoiding getting those visible breaks stacking up in the same place on multiple plates can help this. (Unfortunately, the handling you’re trying to avoid, adding some noise to the image, is the easier way to handle this.)
4) Output profiles can interfere with this as well, making things more complex. Putting a smooth 0 to 100% gradient through an output profile will shift the balance of the output, as 50% will not be output at 50%, etc. If you put an 8-bits-per-channel image through any profiles or color conversions, you’re already starting to introduce imperfections to the originally (mathematically) perfect gradation. Again, the higher the native resolution of the output device, the smaller the issue.
– Converting from RGB to CMYK at output stage rather than working in CMYK to begin with causes similar issues. Solution here is simple enough: the artwork should be created in CMYK.
That’s what comes to mind.
Kalleheikki Kannisto
Senior Graphic Designer -
That looks to be a PDF file originally, and if so it is a clipping mask for the image. You can likely get rid of that container box by selecting it with the direct selection tool and deleting. That failing, you can try the Object>Clipping mask>Release command to separate the box and the contained image first and then deleting the unlinked box.
Kalleheikki Kannisto
Senior Graphic Designer -
You want to expand appearance to get apply the effect that rounds the rectangle before doing the compound.
Kalleheikki Kannisto
Senior Graphic Designer -
In Illustrator it would be scripting matter, so no easy solution there.
If you have access to InDesign, it has an auto-layout function that attempts to fit the content when you change the page layout.
Kalleheikki Kannisto
Senior Graphic Designer -
Yes, the current version has a built-in corner rounding “widget” when you switch to the direct selection tool and select any sharp corner.
Kalleheikki Kannisto
Senior Graphic Designer -
Are you talking about the silhouette of a face from the side or a silhouette of the full body of a person?
If it is a silhouette of a face, you could use a radial wipe to reveal the outline of the face. You would approach this in a non-mask, non-Saber approach, using the silhouette itself as the starting point. You can get an outline by compositing two copies of the matte, one expanded with minimax and an inverted copy composited on top.
If it is a silhouette of a whole person… I would just use the same mask with the Saber effect for every person and vary the randomity of the effect enough to hide the fact you’re not tracing it exactly, revealing the correct shape behind the effect layer.
Kalleheikki Kannisto
Senior Graphic Designer -
A custom texture map with an animated feathered mask reveal of the colored version should handle the texture wipe.
You can’t do a particle effect like that (passing though a plane that emits particles) in Element, you’ll need Particular for it.
Kalleheikki Kannisto
Senior Graphic Designer -
Not sure I understand what you’re trying to achieve, but perhaps using a single-node camera (without the point of interest node) would avoid the rotation issue?
Kalleheikki Kannisto
Senior Graphic Designer