Created a circular shape using the elipse tool, how to change color?

This is a basic quesiton I know, but I'm lossed.
So I created a simple oval shape using the elipse tool, and the color is black. How can I change the color?

What setting did you use in the Options Bar: Shape Layers, Paths, Fill Pixels?
In the first case it would be easiest to change the color, simply double-click the resultant Solid Color Layer’s icon in the Layers Panel and select a new color in the Color Picker.

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Using the retouch tool, how do you make it change color? The old iPhoto one did, this one seems to be flesh-tone only, which is not how I need it to be. In old iPhoto, used the local color to blend, it was great.

Using the retouch tool, how do you make it change color? The old iPhoto one did, this one seems to be flesh-tone only, which is not how I need it to be. In old iPhoto, used the local color to blend, it was great.

I don't know which old version you're referring to but iPhoto 6's, 7's and 8's retouch tool works exactly the same as iPhoto 9's. The color of the enhance tool's area while applying is a light brown color but the retouch works on any color using the surrounding colors as a basis.
During retouching:
After retouching:
OT

When using the brush tool to paint a color, it is painting different, random colors

When using the brush tool to paint a color, it is painting different, random colors (Elements 11)

Click on the top right corner in the tool option bar of the brush tool and select "Reset Tool". Probably your blending mode other than 'Normal' is selected.

When using the lasso tools, how do i disengage from it, in order to adjust it?

When i am in the process of creating a selection, with the lasso tools, I would like to disengage from the tool, briefly to adjust my selection and then to return and continue to make the selection. If i press the space bar, it does disengage; but the hand tool becomes active at the same time. If i click on the options with the tool, to either add or subtract from the selection, as i drag the mouse to do this, i cause the tool to continue to outline, when i would like it to stop. It seems to remind me of when i used to use an old etcher sketcher magnetic drawing toy, from the late 1970's. ( if you are old enough to know what i mean that is)! Does anyone have a solution to this problem.

The magnetic lasso tool is very useful and is suited admirably for selecting tiles or shingles. It is important to set up the tool for the task at hand. In the tool's option bar I start out with Feather=1px, check anti alias, Width=2px, Contrast=3%.
If things don't go well, the first change that I make is to the contrast setting and give it another try. One can back-track by hitting delete on the keyboard, left click to lay down one or more anchor points, then go on to circumnavigate the area to be selected.
Now, after having made a complex selection, going to Layer>new>layer via copy puts the selection on its own layer, with surrounding transparency (checker-board pattern). One can use the eraser tool to tidy up, if required.
I offer this as my workflow. Not infrequently there are several ways to do things in this program.

Using the eyedropper tool to take a color from another file or website...

Hi,
I'm new to Kuler, but recall being able to use the eyedropper tool in InDesign and click on an area of color from a file from another application or a website and have use it in the InDesign file.
Am I incorrect?
If there is a way to do what I am asking if you could please explain how I'd really appreciate it.
Thanks and look forward to hearing back from you soon.

Not sure what exactly you are asking here.
However, wrt Kuler in Indesign, You can add swatches to Indesign Swatches Panel. You can apply color to ID Fill/Stroke color by simply double-clicking a color on Create Tab inside Kuler panel. Or you can take color from Fill/Stroke and set it as base in Create tab to create theme around it

Create a jar file using the jar tool

Hello all,
can somebody help me with this situation:
I use the following comand
jar cfm Seti.jar manifest.mf SetiSeti.jar is the name of the file I want to create and Seti is the name of the folder where I have the class files, the manifest file and the Seti.java. The manifest file is also out of this folder (exactly the folder were I use the command on the command line).
After creating the jar... I try to run it but it gives an error message: "can't find the main class..."
The content of the manifest file is:
"Manifest-Version: 1.0
Main-Class: Seti
I'd never created a jar file before and have already read all the usefull information here and at sun... I'm very preoccupied with this..
Can you help?
Thanks

RuiAranhaJava wrote:
How do I do this?
"And you have to name that package as well when you name the main class in the manifest. "
But, as I have told the name of the package is SetiNo, you just told us that the name of your class is Set. You never told us about the name of the package.
Simples question possible: Does your class look something like this:
package Seti;
// maybe there are some import statements here, maybe not
public class Seti {
// maybe there's something here, maybe not
public static void main(String[] args) {
// anything
}If so, then the fully qualified name of your class is "Seti.Seti" and you need to write that into the Main-Class attribute. (*)
If there is no package-Statement, then the fully qualified name of your class is simply "Seti" and the Main-Class attribute is correct, but your classes are in the wrong place.
Edit:
(*) Please note that package names should generally be all-lowercase, so it should be "seti" instead of "Seti". This helps distinguish it from the simple names of classes, so it's easy to see what you are talking about at a glance: "seti" would be the package, "Seti" the class name.

Is there any way to create a circular buffer using the INSERT ARRAY function?

I saw the example using the REPLACE ARRAY function, but it uses too much CPU power on my laptop. I'm using it for a very sensitive application and saw that the INSERT ARRAY function used much less CPU power.
I am also not wiring the index on the INSERT ARRAY function so that whatever is read from the buffer is added to the array.
However, since it is not indexed, I don't know how to set the "write" index back to 0 when it reaches a certain sized array (ie 1000 elements). I was looking for an array property node, but couldn't figure out if one exists for the "current write index".
Can anyone help?
Thanks

I will try to answer this question to my best understanding. I apologize if I interpreted the question wrong.
You are using the "Insert Array" vi without wiring the index. By doing that, new elements will be added (appended) to the array.
If you just want to know the current index to stop your acquisition when the array reach certain amount of elements, then you can use the "Array Size" vi to keep track of the size of the growing array. Remember that Array Size = last index + 1 because the index start at zero.
A second option is that you may want to start over the array when it hits the maximum number of elements that you will allow. If that's the case, then you may want to re-initialize the array to a NULL state by stablishing a condition (for example, when the
size of the array is 1000, re-initialize). I provided an example attached to this message showing how this can be accomplished. In the example, an 1D array grows in size using the "Insert Array" vi and inserting a random number. When the array reach 4 elements, it is re-initialized. You can expand this example by saving the array first to a file or some other holder before re-initializing the array. The example is in LabVIEW 6.
Finally, if you want to replace the current values with new values, I think you do not have other choice but to use the "Replace Array" vi.
Hope this can be of help.
Regards;
Enrique Vargas
www.vartortech.com
Attachments:
array_example.vi ‏20 KB

Using the pen tool, how best should I build or construct this image?

Hello,
I'm trying to recreate a certain image with the pen tool.
I have already tried using Live Trace using the "Simple Trace" setting. Live Trace did a pretty good job but not with enough accuracy or fidelity to the original image as I would like.
I am pretty rusty with Illustrator now, but I remember from past lessons that the basic idea is that artwork in Illustrator is divided into layers, objects, and elements within objects. But one of the biggest principles with Ilustrator is the order these layers, objects, and elements are stacked. Elements are stacked to create an object. Objects are often stacked, each object on its own layer, to create the entire piece of artwork.
Also, the lower an element, object, or layer is in a stacking order, the further towards the back it appears in the image.
Also, the higher an element, object, or layer is in a stacking order, the closer to the front it appears in the image.
So, in Illustrator, you don't so much draw or paint a piece of artwork, but, instead, creating artwork in Illustrator is more a matter of building it or constructing it.
So, with all that said, below I have an object I would like to create with the pen tool. It is a fleuron. It is at least fairly complex.I am not sure how to build it or construct its parts. What would come first, second, third? What would be on the bottom layer, middle layer, top layer, etc.?
I know there is no one way to reproduce this object with the pen tool. Whatever way you would use or would like to share is fine. I guess, more specifically, I'm not afraid of rigor and working hard, but I'm also not necessarily looking for rigor. Instead, what I am looking to do is work smartly and efficiently. I'm looking for what might commonly be considered "best practice."
So, how would you advise I approach the object below? How should I build or construct it?
Thanks! : )

As for the simple graphic itself, this is what I would end up with:
One Group containing:
One red-filled, unstroked Compound Path consisting of three subpaths.
One white-filled, unstroked Compound Path consisting of 18 subpaths.
The reason I would compound the red paths and the white paths is simply so I could apply to them different fills with one move, should I want to.
The reason the two Compund Paths would be grouped is simply so the whole graphic can, when finished, be moved, rotated, scaled, flipped, skewed (i.e.; transformed) as if it were a single object. (Which it would be; a Group is a logical object, just as a "set" is a logical object.)
As for how I would actaully draw the graphic:
First I would roughly evaluate it to get an idea of what I want to end up with in terms of clean, tidy, paths (as already describe above.)
Second, I mentally devise a "plan of attack" by which to achieve that; just studying the shapes a little more deeply for anything that can be exploited to minimize the work:
Are there any repetitive elements of the shape that can be accomplished by duplication, moving, scaling?
Is there any symmetry that can be accomplished by duplication and flopping?
Is there any simple geometry that can be accomplished with basic shape prmitives (whole or partial ellipses, rectangles, polygons)?
Third, I always try to also consider whether the process of drawing the current graphic and/or portions of it might be of future use to me, and if so, can I exploit other software features to save me time and effort later. For example, consider a single one of the ess-shaped "coils" of the middle tapered "spiral" grouped together with its white highlight. Such a graphic, colored in black and white and stored as an ArtBrush with its Colorization set to Hues & Tints would let me stretch and scale that basic shape along other-shaped paths. Similarly stored as a PatternBrush, it might do multi-duty for many things suggestive of coils, like rope or jewelry chains.
Then I just start drawing the necessary paths, using my default Graphic Style (.25 black stroke, no fill). As I proceed, I store (as Brushes, Symbols, etc.) any intermediate things that I think I might find useful later. For the graphic at hand, I then optimize the paths I've drawn by combining them (cutting, joining, path operations) into the fewest, cleanest, and simplest paths necessary to define the shapes. I then store the finished graphic as a Symbol, Brush, etc. if I think it might be of use later.
Regarding Layers, Groups, etc., etc:
It sounds like you (like many beginning AI users) are way over-thinking the matter of stacking order. Yes, it's good to use some sensible amount of organization as your illustrations and designs become more elaborate, but you don't have to fret so much over it. The principles are very very simply.
Layer really don't even enter into my mind when creating such a graphic, because the paths of which it consists are all going to be grouped, and all the contents of a Group have to exist on the same Layer anyway. Multiple Layers would only come into play when this whole graphic is used as one element in the overall page layout. For example, suppose several instances of this object will exist on a page layout to serve as dividers between ads or stories arranged in columns in a page layout. I may choose--if it makes organizational sense to me--to put all the copies of this object on a Layer dedicated to them. The Layer on which they reside may or may not include other graphics; it's just a question of what makes organizational sense and editing convenience to me while I'm working the file. For example, having the copies of this graphic on a separate Layer would allow me to lock that Layer to avoid accidently selecting the graphics when I'm editing text objects that I've organized on another Layer.
Don't think of Layers as some oppressive "right or wrong" thing that you have to decide upon at the start of every little thing you draw. It's nothing but an organizational convenience that is driven almost entirely by common sense. The mechanics of it are really very very simple in principle.
Look: Everything you create or import in an Illustrator document is an object. Just like sheets of paper in a tablet, each of those objects (each path, text object, raster image) is going to reside somewhere in the z-order (think front to back) of the document's object stack. You can't do anything to prevent that. It's the way the program works. The file is basically just a list of things that the output device has to draw. Being a list, it has a first object, a second object, and so on. Objects higher in that list are nearer the "front"; objects lower are nearer the "back." Normally, objects in front obscure objects behind them, wherever they "overlap."
Now, considering that what you have is just a list of objects, as that list grows and grows, doesn't it eventually just make sense to be able to "bracket" or "label" contiguous portions (contiguous is key here) of that list for organizational and manipulative purposes? That's all Groups and Layers are; brackets around sections of the list.
Consider that an Illustrator file (like most computer files you create) is really just a text file. So suppose you have written a technical manual in a word processing program. Would you write that manual as one big, honkin' text string, or would you "bunch together" contiguous portions of the story under some labeling scheme of subheads? After that, wouldn't you similarly "bunch together" contiguous subhead sections as chapters?
So you can think of Groups as "subheads," and Layers as "chapters" in your Illustrator document's list of objects.
Sure; if you're working on a page layout document, sometimes it makes sense to go ahead and set up some of this structure at the start (just as when writing a book, it makes sense to start with an outline). So you might go ahead and define a Layer for printer marks, another for the diecut, another for text, another for images, another for background fills.
The very next designer might decide to structure the very same project a little differently. He might, for example, decide there's no reason not to keep the text objects on the same layer with the raster images. There's no hard & fast right & wrong her. You do what makes sense for the project at hand.
Now in this context, back to your simple graphic: I don't need a PrinterMarks Layer, a DieCut Layer, or a TextObjects Layer to draw this graphic. I just need the default Layer 1. For convenience, I may want to add a TraceThisStuff Layer onto which I put the original raster image, just so I can conveniently isolate it (lock it, dim it, etc.) while drawing the paths on Layer 1. On the other hand, I can really just as easily leave the raster image that I want to trace on Layer 1 and reduce its opacity and lock/unlock it at the object level. It's up to me.
But for that matter, revisit my "third level" of evaluation described above. In reality, I would very likely not even start drawing this graphic in the document for which it is intended. I would just as likely open an existing JET_Dingbats.ai or a JET_Ornaments.ai or CustomerName_StyleGraphics.ai file or template, draw the graphic there and when done, just copy it and paste it into the current document file. That's how you, over time, build yourself a reasonably organized "personal library" of re-usable resources that save you countless hours of repetitive work in the future.
JET

Photoshop CS4 Crash Using the Pen Tool

We have experienced an issue where creating a line/path using the Pen tool in Photoshop CS4 caused a system-wide freeze, regardless of operating system, other software installed, etc....
Not even a kernal panic, but just a complete freeze.
We found that it only occurred on our white, 24-inch iMacs (2.16 Ghz Intel Core 2 Duo). I tried it on 5 different white iMacs, with various builds of Tiger or Leopard, and they all froze up completely.
We had a plain 10.5.8 image on one of the white iMacs, with nothing extra except Photoshop CS4, and it froze up completely using the Pen Tool on a new document as well.
Oddly enough, the workaround was having Photoshop CS4 run using Rosetta, and then the Pen Tool works fine. It is odd considering the iMacs have Intel processors, and not PowerPC that would need Rosetta.
I have not found anyone else with hardware specific issues like this. So, I thought i should share our (hopefully) temporary workaround.

A complete system freeze means a kernel or driver level bug, or a hardware problem.
Rosetta won't process as fast - meaning that the processor is less taxed, and it may call the drivers differently.
Upgrading to MacOS 10.6 might avoid driver problems (that were in 10.5), but hardware issues would remain.
But first you might try disabling OpenGL drawing in preferences (avoiding the most problematic drivers, and reducing the load in the graphics hardware).

Why can't I use the Width tool on lines I drew with the Paintbrush tool?

I have drawn a shape using the Paintbrush tool's new smooth fidelity with a 3 pt stroke. But when I go to use the Varible Width tool it want allow me to modify the line. what am I doing wrong? Is this even possible?

Thanks. That seems unfortunate.
Bruce Burton
Kiku Obata & Company
6161 Delmar Blvd., Suite 200, St. Louis, MO 63112
Direct 314.505.8427 Fax 314.361.4716
www.kikuobata.com

Why does option+click when on the brush tool set a background color?

Hello,
First question posted at Adobe so I hope this is in the right place. I am using CS5 and am finding that when I option+click when using the brush tool to select a color to brush with, it sets that color as my background color. I want it to set it to the foreground (obviously) so that I can immediately use the color I've just selected without having to swap the back to front.
I can not seem to find a setting to change this occurrence. Any help is greatly appreciated, thanks!

Hello, this is not the help forum for Photoshop, select your platform on :
http://forums.adobe.com/community/photoshop/
Your issue is due to the fact that you have the background color targeted on the Color panel. Click on the Foreground color, and you will be good to go!

Can you merge two user accounts on macbook? my wife has created a user on her new macbook , then inadvertently created a second one when using the migration tool. 1st ac has her office 365 install, yet 2nd has her itunes database, docs and contacts.

Can you merge two user accounts on a macbook? my wife has created a new user on her new macbook air then, inadvertently, created a second one when using the migration tool. 1st a/c has her office 365 install, while 2nd has her itunes database, docs and contacts. What is the best way forward to get everything into the one account? Not sure if the office 365 will allow another installation into the second account, otherwise would just do that and delete the first, if that is possible?

There is no merge but you can move data from one account to another via the Shared folder. Data is copied from Shared. Watch your free space when copying. These are large files. Do one at a time if you are on a small drive. After making copy, delete from other users before you start next copy.
Office365 installs in the main Applications folder and is available for all users on the computer. Activation is tied to the drive not the User.

Photoshop CC - Cannot control + click to select a different shape while using the pen tool?

I used the pen tool constantly in photoshop cs6 and would often use control + left click to select a different shape while still using the pen tool.
I'm now forced to switch to the move tool to select another layer? Why was this feature removed / changed?
Fix: After fooling around more, here is how I fixed it:
The new Direct Select Tool by default is set to "active" layers. Switch it to "all layers"
Message was edited by: Joe Horan

A new problem = Selecting multiple points with control + click + drag is selecting ALL shape layers... Jesus christ, why was this changed????
I now have to double click the shape I want to select? Why? What is the point of this?

When using the rectangle tool in CS5, a graph appears in the shape. How do I turn the graph off?

When using the rectangle tool in CS5, a graph appears in the shape. How do I turn the graph off?
Thanks!

It might be the pixel grid if your zoomed in greater than something like 500% to 700%.
Go under View>Show and uncheck Pixel Grid.
Or maybe you have a layer style set in the tool options bar for shape layers.

How do I eliminate the automatic pop-up created when using the Rectangle Tool?

For some odd reason, Acrobat 9 is now adding a pop-up every time I use the Rectangle Tool. I am using the Rectangle Tool merely to draw a box around text but I do NOT want there to be an associated pop-up. Is there a way to change it so the pop-up will not be automatically created and all I will get is the rectangle itself?
Thanks for your help!
Jim

Something to try -
Open Acrobat's Preferences. Select the Commenting category. The second (middle) pane has Pop-Up Open Behavior configuration settings. Playing with what is or is not ticked may provide the desired pop-up behavior.
Be well...

Created a circular shape using the elipse tool, how to change color?

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