11/29/2023 0 Comments Inkscape tutorialWhile Inkscape is a good alternative to paid programs such as Adobe Illustrator, it may require a bit more time to learn than its counterpart. Additionally, software that creates vector paths can export both visual artwork and files to be machined. When designing products, vector graphics are critical because they maintain quality when saved and scaled. And the best part? It’s open source-and FREE. Here that is with Sass keeping the URLs as variables:īackground SVG Hovers with Data URL variables by Chris Coyier ( CodePen.Want to design products but don’t have the budget for expensive software? Or do you simply like the ethos and flexibility of open source software? Inkscape, a professional vector graphics editor for Windows, Mac OS X and Linux, is a great tool you can use to design products for any number of applications, including laser cutting. This doesn’t change that much from above, but it does open up one interesting possibility: Using a variable for the internal fills. ![]() ![]() This way, the SVG is still in charge of essentially drawing the shape, but the color comes from the background-color (or image! or gradient!) behind it rather than the SVG itself.īackground SVG Hovers with Mask by Chris Coyier ( CodePen. But if you’re using it, you would probably have to use this filter technique to swap color on hover.īackground SVG Object Hovers by Chris Coyier ( CodePen. SVG also has object, which is kinda neat in that it had a built-in fallback back in the day - although browser support is so good these days, I honestly have never used it. Fortunately, Barrett Sonntag made a tool to calculate the filters for you! Turning black to red ends up a whacky combination like this: invert(27%) sepia(51%) saturate(2878%) hue-rotate(346deg) brightness(104%) contrast(97%). Trying to finagle the right filters to get the color right is tricky stuff. I don’t blame you if you’d rather not swap sources, so another possibility is to get gnarly with filters.īackground SVG Hovers with Filters by Chris Coyier ( CodePen. One possibility, which I’d argue isn’t a particularly good one, is to have two versions of every icon, in the respective colors, and swap between them:īackground SVG Hovers by Chris Coyier ( CodePen. At this point, you’ve sort of given up on being able to change the fill. SVG can be set as a background image just like PNG, JPG, or whatever other graphics format. That covers most use cases anyway, but still, a limitation nonetheless. This means you’re pretty firmly in single-color territory. Likewise, the fill of individual elements cannot be controlled within the SVG like you could with inline SVG.As soon as you have something like in the, you’ve lost outside CSS control. This allows the fill set from the parent SVG to cascade into the Shadow DOM created by. The internal SVG elements (like the ) can have no fill themselves.You can still set the fill color from outside CSS rather easily this way, but there are caveats. Use SVG Hovers by Chris Coyier ( CodePen. There is such thing as an SVG sprite, which is a group of SVGs turned into elements such that any given icon can be referenced easily with a element. ![]() Using inline SVG allows you to set the fill, which cascades to all the elements within the SVG, or you can fill each element separately if needed. You’re largely limited to a single color with icon fonts in a way that SVG isn’t, but still, it is appealingly easy to change that single color with color. If you’re used to working with icon fonts, one thing you might enjoy about them is how easy it is to change the color. Inline SVG is my favorite way to use SVG anyway, in part because of how easy it is to access and style the SVG. Depending on which way, the tactic for recoloring that SVG in different states or conditions - :hover, :active, :focus, class name change, etc. There are a lot of different ways to use SVG.
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11/29/2023 0 Comments Adb screencap make file smaller![]() -gdb: Start gdbserv on the given port at crash/ANR.-w: Wait for debugger when application starts.Ĭlear the package previous set for debugging with set-debug-app.-n: Dump native heap instead of managed heap.-user : When supplying a process name, specify user of process to dump uses current user if not specified.-user | current: Specify which user instrumentation runs in current user if not specified.-no-window-animation: Turn off window animations while running.-w: Wait for instrumentation to finish before returning.Use with to generate raw output for performance measurements. -r: Print raw results (otherwise decode).Start monitoring with an Instrumentation instance. ![]()
The preview shows you the ‘enhanced’ version (ie the one with Denoise and Raw Details applied), but you can click on it to show you the original version to see the difference. If you choose Denoise, you’ll see a slider and text box that accept values from 1-100. ![]() Unfortunately, you can’t use Denoise and Super Resolution at the same time, but Adobe’s working on that. The Raw Details option is automatically applied to Denoise and Super Resolution, which means Lightroom is sharpening your images as well as applying noise reduction. You can select Denoise, Raw Details and Super Resolution separately, but you have to deselect one before you select the other. Magnifying glass with a minus sign on the preview (to zoom out) The Enhance Preview window gives you a few different tools to play with:ĭenoise, Raw Details and Super Resolution (Alternatively, you can go to the Detail panel and click the Denoise… button, but who wants to go to all the trouble of doing that?!) How Does it Work?Īll you have to do is select one or more Raw files (either Nikon, Canon or Sony etc) and press Control-Option-I on a Mac or Control-Alt-I on a PC. The new function only works on Raw files for the moment, and it takes around 30 seconds per file to process, but it appears to be better than the Topaz equivalent. The old Noise slider is still there, but it’s been demoted to a manual option. However, the bombshell was the announcement of a new AI-assisted noise reduction tool. Lightroom’s April 2023 release (desktop version 6.3, iOS version 8.3.1, Android version 8.3.1) introduced a number of new features, including masking enhancements, video editing, adaptive presets, support for new cameras and lenses and other enhancements. Fortunately, the latest Lightroom update introduced an even better solution-although it’s very slow! What’s New? I switched to Photo AI recently, but it wasn’t much better, and I still had to spend time checking every single image for artifacts and re-exporting the faulty ones. If you ask any of the programs to work out which AI model to use, it’s not terribly likely to get it right! That’s annoying when you’re trying to edit 100 files for weekly submissions to stock agencies… ![]() My problem with the Topaz Labs products is that there’s always been a rather unpredictable risk of artifacts, and the batch processing is unreliable. Recently, Topaz Labs released Photo AI as an all-in-one editor along the lines of Lightroom and Photoshop, and the sharpening and noise reduction appear to be a bit better than if you use Sharpen AI and/or DeNoise AI-especially in combination. There were also frequent software updates to improve the programs, and you could get them all for free if you signed up as an affiliate! The interface was user-friendly, and you had a manageable number of options to use masking or try out different AI models to get the best results. Both Sharpen AI and DeNoise AI offered excellent sharpening and noise reduction. Until recently, Topaz Labs was the king of the hill when it came to noise reduction. ![]() ![]() Now Adobe has introduced its own noise reduction tool for Lightroom and ACR-and it’s even better! Background I’ve been using Topaz Labs for the past few years, and it’s worked pretty well. Have you ever thought you’d taken a great photo only to find out the ISO was so high that it was too noisy? We’ve all been there, but don’t despair. |
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