Note • The print area can be set in the displayed by clicking Advanced. At the bottom of the screen. Is not displayed, click (Right Scroll). • In cases such as when Identifying people appears at Unregistered People in Global Menu on the left side of the screen, the result may not be as expected since automatic placement does not apply to images for which analysis has not been completed. • To swap automatically placed images, see. • Click Print at bottom right of screen. Important • If the appears, select Print/scan using AirPrint checkbox in. • Specify number of copies to print, printer to use, and other settings. • Click Show Details, and then make sure 120 x 120 mm is displayed in Paper Size. If not displayed, proceed to Step 8 in. • Select Media & Quality from print options pop-up menu, and then select Auto Select or CD-DVD Tray in Feed from. • Click Print. When a message appears, set the disc tray. Note • To print disc labels with the same settings from the next time, save the settings specified in the Print dialog to Presets. For the save procedure, see Help of Mac OS. • If the print result's color tone is faint, select Media & Quality in the Print dialog, and then select Best in Quality. There's also a serious problem that can result from sticking adhesive labels on discs: It can affect the disc's stability. For that reason, the National Institute of Standards and Technology recommends against affixing labels on C/DVDs used for archival purposes. (Learn more from this.) With paper labels, there another problem: At the high (and increasing) rotational rates used in C/DVD drives, if the label isn't exactly centered on the disc, the CD/DVD-R could be literally shredded apart, right inside the drive. Not only would this harm the drive, but it could also be dangerous to the user. Luckily, this doesn't happen often. But let's not invoke Murphy's Law on a computer we're responsible for. The way canon cd printers work is that they have to use certain software to work.I just bought one myself, although I have not yet used cd printing. Your printer should have come with basic labeling software, but trust me it is horrible. Before this printer I was using the software that came with the Canon Pixma iP 4920. It was great and easy. However I did find the option to print the cd, but only using their themes. It is best using for the canon printer, I have been using the designer to the latest version 3.3.3.0 to print Lightscribe labels on Lightscribe CD and DVD best software using for the people, it is really to the best service provided to the canon customer Service than everyone else we meet on the help. In this TechBuilder Recipe, I'll show you how to bypass all these potential problems. I'll also show how to and print directly on printable C/DVDs, which contain a special coating intended to retain ink. These instructions should work whether the PC system runs Linux, Windows, or OSX. Canon Cd Label Printing SoftwareCD / DVD PRINTING Cherish your favorite memories by printing directly onto a CD or DVD label Print Custom CD & DVD Covers Personalize photos and videos of holidays, birthdays, weddings and more by printing directly onto inkjet printable CDs, DVDs and Blu-Ray discs. Disc Labeler Direct-to-Disc Printer List. Disc Labeler 7 supports a wide range of printers capable of printing directly on a specially coated CD/DVD/Blu-ray disc. When I initially prepared this Recipe, I was using Fedora Core 2 Linux. Since then, I've upgraded to Fedora Core 3. Even so, the Recipe still applies. From your point of view, the critical parts—print driver and OpenOffice 2.x—should be distribution-independent. One note of caution: This Recipe is intended to help you deploy short production runs of C/DVDs. But if you're planning to print on 100 or more identical C/DVDs at a time, you'll save time and money by simply looking for a bulk C/DVD duplication facility via Google or your local phone book—and having the C/DVDs pressed; not burned and printed with the text and imagery of your choice. (Also check out this past TechBuilder Recipe:.) Working with Canon Printers One factor that influenced my choice of printer was an ability to print to C/DVD—and, of course, not having to spend too much extra for the feature. Only Epson and Canon support it. So, after some initial research, I bought a Canon photo printer. The estimated street price is just under $100, according to Canon. If, like me, you're working with a Canon printer, the techniques in this Recipe should work, given a reasonable degree of care by the user. But Canon does not support direct-to-C/DVD printing for North American users. So if you're in the U.S. Or Canada, don't expect warranty support from Canon if you accidentally damage the printer. If you do decide to use a Canon for this purpose, and you're in North America, do not install the software that came with the printer. The Canon software is intended to prevent your printer from printing directly to a CD, not to enable it. This may be hard to believe, but it's true. If you run Linux, carefully read the driver/application section below; it will tell you where to get the non-Canon software you need to print CDs. If you're outside the U.S. Or Canada and run Windows, all you have to do is buy the Canon printer and start printing CDs. Everything should be in the box, as Canon does support this functionality outside North America. Canon's fixed print-head and separate ink tanks mean you can simply buy the tanks instead of buying entire color/black cartridges. This will drastically reduce your print costs. The tanks are easy to refill, though I can't guarantee the stability/longevity of the dyes. I also can't guarantee the stability/longevity of the Canon OEM ink, either. Unfortunately, a number of the newer Canon models have gone with the multi-color ink cartridge with integrated head common to other vendors. This move helps Canon increase their profits on ink, I suppose. So read the specs carefully before you buy. Make sure your new printer has ink tanks separate from the print head—unless of course, you enjoy buying ink packaged in a very expensive form! Canon printers in Canada or overseas that support direct CD printing—including any PIXMA series printers—should do just that in the U.S. But check the before buying. If a printer cannot print to CDs in Europe, it most certainly will not print CDs in the U.S. Canon Printers That Do Support Print-to-CD If you're working with Canon model lines IP3000,4000,5000,6000d,8500, this is for you. My instructions should also work with the IP4200,5200,6600d models. If your printer isn't listed here or is 'unconfirmed' (which means 'does not work'), then try Steve's Forum (listed in the Resources section below) via the site's internal search engine. For working with IP6000, IP8500, MP750,760,780 models—or the new MP500, MP800, MP830, MP950 models—go to this page. This site appears to be kept current, so printers not listed above may be listed here by the time you read this article. If you're a Linux user, make sure the printer you intend to buy is supported by the Turboprint driver mentioned in the 'Linux Printer Drivers' section below. If it is, use the instructions that are not OS-specific on that site (i.e. Firmware and creating the CD tray). Then follow the instructions about printing from OpenOffice2.0.Draw. I found that ordinary non-printable DVDs work well for printer test purposes. After use, the ink wipes right off, and the disc is ready for reuse. Canon Cd Label Print SoftwareIf what comes out of your printer is way off, get a non-printable disc and start moving the print image around on the tray until it prints where it's supposed to on the CD. Firmware Mode Selection The main differences between printers sold to the U.S./Canada market and the international models are: • The mode the printer firmware is set at by the factory. • A cover over the slot, in which one inserts the CD tray to print CDs. • A CD tray is not included with the U.S. Canon Pixma Cd Printing SoftwareVersion of the printer. When putting the printer into service mode to select firmware versions, do not have the inner door open. Here's what the Canon IP3000 front panel looks like. Canon Printer Service Mode What needs to be done here is that the 'destination' setting—which tells the printer where it is—needs to be changed from the U.S./Canada default setting to a setting that supports print-to-CD on a letter-size (8.5-inch x 11-inch) default setting. For this section, it's important to know that you get access to the Canon printer firmware through two buttons on the front panel. These get you into printer service mode. (By the way, I got this information below from the Canon service manual for this printer. Unfortunately, the URL from which I previously downloaded my copy no longer seems to exist. One might be available as of whenever you read this. Searching for one might be a good idea.) The Canon printer service mode is an internal diagnostic/maintenance menu tree. You access it using the Power and Resume/Cancel buttons instead of a computer keyboard or mouse.
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Paintings undergo the greatest change in the first few months of their life as the solvent or liquid part of the medium evaporates and the paint begins to dry. Then the chemical processes involved in the “drying” or hardening of paint take over. When paint dries a pattern of cracks (craquelure) generally forms. This is often distinctive, giving clues to the construction and therefore date and origin of the painting. And neither does your fear of painting your own hot rod or truck. Find out how to avoid (and fix, if necessary) these seven common paint maladies and tackle your next paint job at home. Standing nude, oil on canvas, by Milton Avery, 20 th century, Private collection Connecticut, USA The canvas was buckled and there was disfiguring sub-surface cracking in the white pigment. The painting was treated in a vapor tent to relax the paint film; the cracking paint film was then treated in a vacuum hot table with a favorable result. The graduate programs also require that a student have 1 to 3 years of experience in an established art conservation laboratory. Most graduate programs are three years in length - two years in school and a full year of an internship in a museum, regional laboratory, or with a conservator in private practice. After graduation, students will spend one to four years in fellowship positions, usually in large museum conservation laboratories. Jobs in art conservation are not plentiful and, considering the amount of education and skill that is required, the field is not the place to become rich. The most important qualification in paintings conservation is experience. Essential, too, is continuing education in the field. The MACC paintings conservators attend national and international workshops, symposiums, congresses, and conferences. Most paintings conservators have worked on scores of different styles of paintings. Conserving a painting is not at all like painting a work of art; instead it is a processes of repairing and disguising losses, abrasions, and damage through careful inpainting. The surrounding original paint color and tonality is used to guide the conservator during the inpainting process. Many paintings conservators are artists, but it is not necessary to be an artist to be a good conservator. A paintings conservator must be able to imitate surrounding original paint layers with the minimum amount of inpaint possible. Inpainting with tiny brushes with thin layers of a synthetic medium in areas of loss is only part of the skills required of a paintings conservator. Paintings conservators must know paintings - how they are made, how they age and change with age, and recognize the cause of damage and earlier restoration. The conservator must deal with challenging structural conditions and problems such as flaking and splitting paint layers, weakened supports, curling, tears and holes in canvas, warped and split wooden panels, damage by water, dirt, neglect, or vandalism and so much more. They also must be prepared to work with paintings of all age and style - from 14th century Italian panels to modern and contemporary paintings. When conserving a painting, it is very important to know the difference between an original paint layer and overpaint later added to repair or disguise damage. Very often, paintings were previously restored and overpaint using an oil-based paint. The newer oil paint may have matched the original paint layers for a period of time, but later darkens slightly with age, and soon, the restored areas can easily detected. If a painting is restored using stable, non-discoloring synthetic resin paint (like acrylics), the overpainting will not darken. In addition, synthetic paints can be safely removed from an original paint layer with solvents that will not harm the painting. An experienced paintings conservator has tools at their disposal to detect restoration. Both oil and synthetic resin overpaint or inpainting can be visually detected using a ultraviolet light source. Infrared light sources can also helpful in identifying areas which have been inpainted. Most essential is the experienced eye of the paintings conservator. Carr, Damson W. And Leonard, Mark, Looking at Paintings: a Guide to Technical Terms, Malibu, CA: The John Paul Get Museum, 1992. Gets, Rutherford J. And Stout, George L., Paintings Materials, New York, NY: Dover Publications, 1966. Gottsegen, Mark David, The Painter's Handbook, New York, NY: Watson-Guptill Publications, 1993. Keck, Caroline K., A Handbook on the Care of Paintings, The American Association for State and Local History, 1965. Keck, Caroline K., How to Take Care of Your Pictures, The Museum of Modern Art and The Brooklyn Museum, 1954. Nicolaus, Knut, The Restoration of Paintings, Cologne, Konemann Verlagsgesellschaft mbH, 1998. Stout, George L., The Care of Pictures, New York, NY: Columbia University Press, 1948. Thomson, Garry, The Museum Environment, 2nd edition, Boston, MA: Butterworths, 1986. In art conservation, we use established principles as a general guideline for materials. We most frequently utilize materials - varnish, inpaint, adhesives - that are durable and have good aging qualities; that can be later detected by another conservator; and that can be reversed or removed from the painting without harming the object. Many of the original materials used by artists do not fall into these categories. All art materials have pros and cons. Oil paint is a beautiful medium, allowing the painter to create effects such as glazing or working wet-into-wet. Oil paint, however, is not appropriate for inpainting as it darkens with age and becomes difficult to remove from an original oil paint layer. We are using dry pigments ground in a stable synthetic medium for inpainting. The synthetic medium does not darken or discolor with age, but it demands a good deal of skill to make a synthetic look like a beautiful, aged oil paint. Most important, the synthetic medium paint can be very safely removed from the painting. The synthetic resin we removed had attracted considerable dirt and grime. The varnish had not completely saturated the paint layer. The new varnish will be superior to the last in that it will be a synthetic resin with proven physical properties. It will saturate the paint layer much more completely than the one we removed. The new varnish also will not yellow or discolor and will could be later removed with solvents safe tothe paint layer. This is a question we often hear from casual viewers who happen upon a conservation project. When people view a paintings conservator treating a mural or picture, they often mistaken the activity for creating or painting the work of art. The process of conserving a work of art is very different since it always starts with a previously completed work of art. The only painting which takes place during the conservation process is called inpainting and is done only to restore areas of the painting which have been damaged or deteriorated. The type of painting which is done in the conservation process is called inpainting. During the inpainting process, losses in the paint and ground layer are filled, leveled, and textured to match surrounding, original layers. Microsoft exchange server event id 1000 vmware. Inpaint is applied on the losses, areas of abrasion, and to diminish stains and old restorations (if they are not removed). Inpainting is done only after the original painting has been varnished. Windows vista sidebar for xp. How To Repair An Oil Painting That Is Cracking Your Knuckles BadThis varnish is used to saturate the paint layer and to provide an even gloss surface quality as well as to physically separate the original painting from the inpainting. When done properly, the varnish and the inpainting can be removed during future conservation processes with little or no effect to the remaining original paint layers. Tears in a canvas are extremely difficult to repair. Once ripped, torn, or punctured, a canvas curls and distorts. How To Repair An Oil Painting That Is Cracking Your Knuckles CausesTears are mended using one of a variety of techniques, but it is not easy to predict how a particular canvas support will react to treatment. Once repaired, a tear is filled and textured to imitate the original canvas or paint texture. Tears often extend through numerous design elements and colors in a painting, so the process of inpainting can be quite challenging. At times, we encounter works of art that are terribly damaged and cannot be conserved. The hardest news to give a client is that little can be done to bring a painting closer to its original condition and appearance. We will never alter a painting to make it something it is not. A good paintings conservator should handle and treat a $40 painting with the same level of respect and care as the $40 million dollar masterwork. This democratic approach eliminates the fear of the object and the possibility of making careless choices and mistakes. Although we thoroughly examine each painting before treatment, we periodically encounter condition problems that do not surface until we are well into a treatment. Masks are shapes that are applied to layers using the Pen tool or any of the Shape tools. 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Now, I can drag in the Composition panel to apply the mask. Windows vista sidebar for xp. But before I do that, I'll position my cursor off the upper right edge of my composition and then I'll press the Comma key to zoom out because I want to make sure the mask covers all edges of this layer. So, starting in the upper right area here, I'll click and drag down to the left and notice as I drag over the Composition panel, I'm revealing that Purple Solid 1. Adobe After Effects Free Download For …Since we want the animation to start off the right side of the composition, let's make sure and draw our path off the right side of the composition until it looks something like this. Press M on your keyboard to reveal Mask 1 in the Timeline. And click on the Stopwatch to set our first keyframe for the Mask Path. I want this animation to be kind of fast. So, I'll go to the time and click and type +10 to only move ten frames down the Timeline. Press Enter to move the Current Time Indicator. And to change the mask shape I'll go up to my Tool panel and make sure I have my Selection tool selected. Now, if we go over to the mask, you'll notice all of the points are filled, meaning they're all selected. So, if I clicked on one of the points of my mask and started to move it, they'll all move at the same time. I don't want to do that, so I'll just reposition off the edge here and I'll deselect all the points by clicking outside of the Mask Path. And now, if I click on one of the points and drag, notice I'm just moving that one independently. I still don't want to do that, so I'll press Control + Z on Windows or Command + Z on the Mac to undo. If you double click on any of the points, you'll get Transform controls. So, make sure to double click on one of the points and you'll know you have Transform controls when you see these handles in the middle of the masks. So, let's hover over this left middle handle until we see the double arrows. Once you see the double arrows, click and drag the mask to cover the entire Composition panel. Make sure it goes way off the left edge of the composition. Now, let's move ten frames down the Timeline so click on the time and type +10 and press Enter to move the Current Time Indicator. We can go back up to the Mask Path and just double click on any of the points. Since we have our Transform controls applied here, now I'll hover over the right middle handle here and click and drag off the left side of the composition. Once I've got it set up, I can press Enter to set that last transformation. To preview our animation, I'll move the Current Time Indicator back to the beginning of the Timeline, and press the Spacebar. Notice now we have a color that wipes across the scene. Which is exactly what I want. But I want to make this a little more dynamic. So, I'll press the Spacebar to stop playback. If you click on the words Mask Path in the Timeline, all three of the keyframes will be selected. That means when we press Control + C on Windows or Command + C on the Mac, you'll copy the keyframes. So, go ahead and press Control + C or Command + C to copy the keyframes. Let's move our Current Time Indicator roughly in between the first and the second keyframe. So, I'll position mine to about frame 0:00:03:12, and I'll select Layer 3, and turn its Visibility on so we see it in the Timeline. And I'll press Control + V on Windows or Command + V on the Mac to paste the Mask Path. If you press M on your keyboard, you'll see those keyframes that have just been pasted. So, to preview our animation, let's move our Current Time Indicator back to the beginning of the Timeline and press the Spacebar. Now, you've not only created one mask animation but two because you've copied and applied the mask keyframes to another layer. So, remember when it comes to applying masks to a layer, it's just a matter of making sure that you have the layer selected before you go up to the Tool panel and choose either a Shape tool or a Pen tool to apply your mask. What you learned: Create a custom transition using masks Masks are used to hide, or reveal, specific areas of a layer. • To apply a mask to a layer: • Select the desired layer in the timeline. • Select the Pen tool or a Shape tool in the Tools panel. • Draw a mask shape in the Composition panel to define the areas to hide. • To animate a mask: • Move the Current Time Indicator (CTI) to a frame in the Timeline for the start of the transition. • Press M to open the Mask Path settings. • Click the stopwatch to the left of the words Mask Path to record the position of the mask path and set the first keyframe. • Move the CTI down the Timeline to mark the end of the transition. • Click the words Mask Path in the Timeline to select the mask path. • Move each anchor point in the path to a new position or press Control+T (Windows) or Command+T (macOS) to apply transform handles to the mask path. • Drag inside the mask handles to move the mask without changing the shape; drag the handles to transform the shape of the mask. • Reposition the mask and press Enter on your keyboard to apply the transformation and automatically record the second keyframe for the transition. One of the biggest reasons why I love animating Illustrator CC layers inside of an After Effects CC project, is the fact that you can convert Illustrator CC layers into shape layers. And that's what we're going to do in this tutorial. Let's animate the appearance of this layer into the scene, by converting this diamond shape into a shape layer. Go to the Timeline and select Layer 2. To convert this to a shape layer, right click on the layer, and choose Create Shapes from Vector Layer, or with the layer selected, you can go up to the Layer menu, and go down and choose Create Shapes from Vector Layer. Once you've converted the layer, you'll notice the icon has changed for Layer 2. It's now a shape layer.
Email isn’t going away. It’s here to stay. In the same vein, email newsletters are becoming more popular (and more important) than ever. If you want to reach potential (and existing) customers, newsletters are a great way to spread your message to a large audience — whether it be upcoming projects, company news, or other business-related information., as well. In this tutorial, I’m going to walk you through how to create an email newsletter template in Adobe Photoshop, and we’re going to be using some common design patterns that I’ve found very effective. After you’ve completed the design process, you’ll be ready to code and style this template for your own business. Here’s a link to the post on. Painstakingly recreating an email message over and over just isn't the way to go when you need to let a lot of people know about a sale, memo or any other announcement. What Exactly Is an Email Newsletter? You’ve probably seen an email newsletter in your inbox before. It’s a cost-effective way for brands to communicate with their users or customers. If you’re a business like Sephora, for example, your newsletter invites customers to read about makeup tips, gives them a sneak peak at new products and probably offers a coupon. If you’re a content site, your newsletter includes an enticing headline for each new article to get users to click over to your site and read more. As long as you’re offering content that your customers or users find useful, you can leverage email newsletters to keep your brand fresh in their minds. The Purpose of an Email Newsletter The purpose of an email newsletter depends on your business. You can use it to drive sales through featured products and coupons. You can connect with customers through helpful tips and information. You can even boost your social following or traffic to your site. Just remember, good email campaigns are tailored to your needs as well as to the needs of your users. How Do Email Newsletters Work? A good email newsletter is not an update of company news. It’s a way to engage people and get them to take an action. It offers readers exclusive information they could not get anywhere else and then calls on them to click, buy or subscribe. To do that, your newsletter format should be simple and easy to read, yet attention-grabbing. How to Create a Newsletter Design in 7 Steps When it comes to email newsletter design and layout, there are some best practices to follow. Let’s look at the process, step by step. Getting Started: Newsletter Size and Dimensions As a general rule, it’s best to start your with a fixed width instead of a fluid/liquid layout. If you don’t know the difference,. This will prevent horizontal scroll bars, which pop up when you don’t use the full width of the screen. Design your newsletter with a width of around 550 to 600px and make sure the important information is within the top 300 to 500px. This is the size of an average “preview pane” in most desktop email clients. Best Software For Creating Html Emails In YahooSet Up the Document in Photoshop Open up Photoshop and create a new document with a width of 800px, a height of 1000px and a resolution of 72dpi. Be sure the color mode is RGB. For this newsletter example, I filled the background layer with a light gray. Then I created a container 600px wide to house the main content. I filled it with white and positioned it in the center of the document. Allow the User to View the Email in the Browser of their Choice I added this notice to the top of the newsletter using the, 10pt size: Email not displaying correctly? View it in your browser. It’s important to give people plenty of options for viewing your email newsletter. Some email clients might not download images by default. To improve accessibility, always include a link to view the email newsletter in a web browser. Create the Email Newsletter Header In this tutorial I’m creating an email newsletter called The Pet Digest to complement my new blog, The Pet Anthology. The goal is to keep interested readers up-to-date with the latest goings on through a weekly bundle. Since the branding on my blog has already been established, choosing the fonts, color, and graphics of my newsletter is easy. The above image is the header of the blog, which I also created in Photoshop. I’m going to retain the look and feel while making only slight modifications. I start by opening up the psd of the blog header and copying the mascot over into the newsletter template. From there, I grab the name and slogan and copy them into the email newsletter template, as well. With some minor revisions to the text, the newsletter looks like this: The fonts I used were: for the words Pet Digest, for the words Our Weekly Bundle, and for the. Create the Main Part of the Newsletter I created another rectangle that’s 600px wide under the header and extended it close to the bottom of the page. I then gather the content that will be featured in the week’s newsletter. Again, borrowing the design attributes already laid out in my blog, The Pet Anthology, I create the heading using, drag and drop the main image and copy in the article text. A dotted border placed underneath will separate each article field. I then duplicate the first entry twice and move them down to fill out the rest of the spots for this newsletter. I’ll place the new content in the duplicated spots shortly. Using, I insert the remaining two entries and erase the duplicated content. Add Social Links I want to include an area for social network and RSS icons, and I want to let the subscriber share the newsletter with friends. Best Software For Creating Html Emails In Yahoo MailI start by creating a rectangle 252px wide and include a call to action that encourages subscribers to follow us. I use the appropriate social network icons, changing the colors to reflect my branding. Keeping in mind the usability of email newsletters I decide to keep things simple. I then duplicate the rectangle and place it to the right, including the “Share this with you friends” text in the Museo font on top. Include a Footer To wrap things up, I create the footer, which will allow subscribers to get in contact with me or to unsubscribe from the newsletter. Every newsletter needs to have a link or a button to allow the reader to unsubscribe from the newsletter if they want to. Good tutorial. Welcome to the GSM-Forum forums. You are currently viewing our boards as a guest which gives you limited access to view most discussions and access our other features. 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