Suspenledland.com

www.Suspenledland.com a sister concern of www.redchilliworx.com is a freelance web and graphic designer with good experience providing high quality service, and web & graphic design for all types of businesses. Suspenledland.com is an innovative Web development and graphic design company located in India and serving clients worldwide. Suspenledland.com Web & Graphic Design provides a exclusive blend of creative vision and technical expertise. Our experts are fluent in the following software programs: ADOBE ILLUSTRATOR, PHOTOSHOP, PAGEMAKER, DIRECTOR MX 2004, AUTHORWARE, DREAMWEAVER, HTML, CSS, JAVASCRIPT,FLASH, 3DS MAX , and the latest Technology Silverlight / Flex.

Tips For Designers For Translating Your Comps Into XAML

Pre-Tip: Work in Blend
All of these tips are assuming that designers are building comps with another design tool like Illustrator or Photoshop and then moving the comps into Blend. If you’re not using Blend, you should be. I am not suggesting that you change your design tools or that you design differently. These are just tips for the translation process.

Tip 1: Two layers of semi-transparent gradients is fine. Twelve layers of semi-transparent gradients is not
Whenever you add a transparency layer, you add another run of rendering to all the pixels in that layer. Doing that once or twice is fine… most machines can handle that. But when you have a bunch of them, you’re begging to bring the machine to a crawl. Look at the two gradients below…



The one on the right is a solid background with two transparent gradients (a light one at the top and a dark one on the bottom). The one on the left is a single gradient. The one on the right required three passes to render. The one on the left requires one.

This does not mean that you can never have transparency in your application. But if you can figure out an economy of layers when using transparency, you’ll save yourself from from developers who are willing to make the design trade off to speed up the application.

Tip 2: The Grid layout is your new best friend. Understand it. Use it. Love it.
I once worked with a designer who used Blend and made the most beautiful screens in Blend. But when it came to implement his designs, the developers ended up ditching most of his work because every element was inside a layout inside a layout inside a layout… etc. This ends up being a huge performance killer because every layout means another set of layout calculations for the layout manager.

Instead, make creative use of the Grid layout. Within the Grid layout, you can create columns and rows with the following options:

Auto (with Min/Max options) - This column will ask the items inside it how much room they need and will expand or contract to give them exactly the room they need and no more (within the min/max limits).
Fixed Width/Height (”80″) - A fixed height or width will take exactly that many pixels of space. Easy enough.
Star (”*”) (with Min/Max options ) - this can be used as a decimal or a percentage… “.8*” or “80*”. It asks the container holding it how much room it has. After the Auto and Fixed columns or rows allocate their needed space, the “*” ones take up all the remaining available space unless hindered by the min/max limits.
A single grid can use any number of rows and columns using any combination of Auto, Fixed and Star. You would be shocked at how flexible this is. (Click here to see that flexibility in action.) You can build whole screens using a single grid. I don’t recommend that, but keep the idea of fewer layouts in mind when you are translating designs. Not every element in the project needs to be inside its own layout.

Tip 3: Use Borders, not Rectangles
Borders play nice with pretty much anything you want to do with the added benefit of being able to put stuff in it. Additionally, they are really simple layouts, so they don’t use much overhead. Take a border and put a Grid into it and you have a visually compelling and flexible combination.

Tip 4: Draw simple vector art inside Blend.
Mike Swanson has a fantastic Adobe Illustrator-to-XAML plug-in. I’ve heard that some people can use Expression Design quite well. But unless your project is extremely visual in an artsy kind of way, you should just draw simple vector art inside Blend. Not only will you save yourself the exporting-importing trouble, your XAML will look nicer and be easier to change later on.

I usually draw with the pen tool inside a Grid layout and then use the direct selection tool to make the tweaks I need.

Tip 5: (Silverlight Only) Plan on using only a few fonts
Most of my experience with fonts in Silverlight have been somewhat painful. Hopefully we’ll see that change in Silverlight 3, but in the meantime it is something that I’ve seen even experienced developers fight with. Watch this video by Tim Heuer… it will help. () And put this blog on your RSS feed… I’m working on a step-by-step tutorial for this geared at non-developers.

Tip 6: Work in “Split” mode in Blend and goof around with the XAML every now and again
Blend as a drag-and-drop design tool is absurdly powerful. Using Blend, you could build an interactive wireframe prototype in 15 minutes and never touch a line of code.

But as awesome as it is, it will be necessary from time to time to go into the XAML and tweak this or that or comment something out or copy-paste something else. Simply put, understanding XAML will make transitioning your designs a breeze and having Blend in “Split” mode will let you know just what your work in the design space is doing to the XAML. It’s a pretty painless way to start the XAML learning process.

If you’re interested in getting into the XAML a little more, I would recommend using Visual Studio 2008 in tandem with Blend. It offers intellisense (auto-complete for code) and integrates extremely well with Blend.

Hope that helps… If anyone has any questions, feel free to post them here.

Media types In CSS

Defining the Media Type

First let us have a quick think about what possibilities this opportunity to restyle your page for a different output medium gives us all as designers. You’ve probably witnessed what a mess some pages can look once they’ve been transferred onto paper — useless navigation areas and ads take up space, paper and ink. The page can often look cluttered and can become illegible given the more restricted dimensions of the page.
Over the last few years it has become customary for large sites to offer links to ‘printer-friendly’ pages — separate pages that were stripped of this unnecessary content. These pages were time-consuming to generate and costly to maintain, and so disparities between the content on the two versions of the same page often crept in. With the simple CSS methods in this tutorial, nothing more than a second stylesheet would be necessary for all of these pages to print perfectly.
There are even more browser types to consider, such as aural browsers, which read webpages aloud to their users; or Braille displays, which can create interfaces from a webpage readable to their blind users. The software that drives these applications will often include a default stylesheet which will apply stylings relevant to the medium, but now you can get in there and add your own styles to these outputs.

Media Options
There are ten different media types defined in the » CSS-2 specifications. They are:

• all (default if no other is specified)
• aural
• braille
• embossed
• handheld
• print
• projection
• screen
• tty
• tv

Making the Association
A linked stylesheet can be associated with a media type by simply adding the media attribute to the link tag:

If the stylesheet above was linked to your document, the style rules it contained would only be applied when the page was printed out — they won’t show up when you view the page on a monitor.
Imported stylesheets are classed similarly. You can apply a stylesheet to multiple mediums by adding a comma-separated list.

Finally, inline style rules can be associated with a medium by wrapping them in an @media block:

Putting them to Work
Now it’s time for some practical tips on actually writing your new stylesheets. Restyling for print will probably be of interest to the majority of you, so here are my suggestions.
Using the CSS display property you can take redundant elements out of the visual display. I apply this to all of the navigational areas of my page like this:
td#navigation, table#footer, div.banner {display: none; }
The above method should also be used to pluck advertisements from the printout. If a user can’t click on an ad, it’s not going to be of much use to them.
We then set all of our content areas to take up the full width of the page. As you would expect, leaving widths defined in pixels gives unpredictable results when translated to paper. To save on ink and increase legibility, text and background colours are set to black on white in as many cases as possible.
table#main {width: 100%; background: white; text: black; }
You may also choose to change the font of your text to something more suitable for print. This step isn’t necessary to produce a good printable page, and it’s up to you whether you incorporate it. Usually, serif fonts look better in print than on screen, whereas it is the opposite for sans-serif fonts. Georgia and Times New Roman are both good fonts for offline reading. Print is also the medium where defining your text size in points is most appropriate.
Print out a page from HTMLSource to see the changes I’ve made to the layout. You can also see our print stylesheet itself.

Retouching skin

There's a facinating discussion about the right and wrong way to retouch skin going on over on the Tutorial Blog. If you've ever grappled with this in Photoshop you might pick up a tip or two from reading the tutorial and the comments.As ever, it enforces the fact that there are several ways to approach almost every photo restoration and retouching task in Photoshop. It's no wonder confusion develops!
"The broader questions are: when retouching skin, should you eliminate blemishes with the clone stamp tool, and should you blur out all detail in the pores. The answer is ABSOLUTELY NOT on both counts. It’s bad advice; following it will limit your Photoshop proficiency rather than developing it.For skin and many other surfaces, the clone stamp tool has been almost completely superseded by the Patch tool and the Healing Brush tool. These tools are easier to use, faster, and give better results. Yes, you can simulate their effects with careful, laborious use fo the clone stamp, but you are better off just using the right tool.As others have noted, skin has pores. You can’t just turn them into mush and expect to get a believable image back. The target appearance is not a featureless, blurry surface but the appearance of fine, shallow, barely-noticeable pores. "

Is Photoshop PS3 worth the upgrade for photo restoration?

Photoshop CS3 is here at last and has some exciting new features, but is there enough to upgrade for if you use Photoshop for photo restoration?The workflow features have been improved through the streamlining of palettes and self-sdjusting docks, but the workflow and interface in CS2 wasn't exactly clunky or intrusive to begin with.Adobe Bridge has been improved too ... big deal. Most people I know don't use it anyway. I find it useful, but not essential. Adobe say it is now faster, and yeah, it was kind of sluggish, but the improvements don't sound exactly mind blowing!One new feature that is really worth a closer look, and should have made it into Photoshop a long time ago in my opinion, is non-destructive smart filters. Up until now you could only apply image adjustments (eg. levels, brightness/contrast, invert, etc.) non-destructively. With CS3 you can now apply filters, say a gaussian blur, to an image or a layer with the option of coming back later and adjusting the blur settings or removing it completely. Whether this feature will be limited to certain colour modes or a limited number of the available filters remains to be seem.I am delighted to see a feature I have desired for ages, and that is rotated/scaled cloning. I've lost track of the number of times I've cursed it's absence. Wait and see, give it a year and you won't be able to live without it!The Healing Brush tools have been improved too, which is more good news for photo restorers. Changes to the Channel Mixer and extended options for creating black & white images from colour will have obvious uses too.I reserve judgement on whether it's worth the upgrade.