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Congratulations. You’ve just completed a pixel-perfect mock-up of an app, and you’ve gotten the nod from everyone on the team. All that’s left to do is save the tens, hundreds or maybe even thousands of production assets required to bring it to life.
It’s probably the least interesting part of designing software, usually entailing hours of grinding. Saving images to multiple scales — as required by iOS and other platforms — adds complication to the process. But there are ways to streamline or automate the exporting process.
When creating Web and app interfaces, most designers slave over every single pixel, making sure it’s got exactly the right color, texture and position. If you’re not careful, though, some common functions like moving, rotating and pasting can undo your hard work, resulting in a blurry mess. But with some small changes to your workflow, you should be able to maintain the highest-quality artwork from the start to the end of the project.
If you’re not careful, rotating layers in Photoshop can damage them in a very noticeable, pixel-mashing way. When rotating layers with Free Transform (and some other tools) to exactly 90 or 270°, the quality of the outcome is determined by the layer’s size. If the layer is of an even width and even height, then you’ll be fine. If it’s of an odd width and odd height, you’ll also be okay. But if they’re of an odd width by even height or even width by odd height, then you’ll see something like the result below.
Often, it's the little details that turn a good layout into a great design; details such as subtle textures, shading and smooth shapes. Photoshop contains a vast array of tools for embellishing a design, but choosing the right one isn't always easy. Being the obsessive-compulsives that we are, we've conducted a huge range of experiments to determine the benefits and disadvantages of each technique. Here, then, is an obsessive-compulsive's guide to some frequently used tools and techniques for Web and UI design in Photoshop. [Content Care Nov/30/2016]
Subtle noise or texture on UI elements can look great, but what’s the best way to add it? Our goal is to find the best method that maintains quality when scaled but that is also easy to implement and edit. To find out which is best, we’ll judge each method using the following criteria.
The iPhone 4 features a vastly superior display resolution (614400 pixels) over previous iPhone models, containing quadruple the 153600-pixel display of the iPhone 3GS. The screen is the same physical size, so those extra dots are used for additional detail — twice the detail horizontally, and twice vertically. For developers only using Apple’s user interface elements, most of the work is already done for you.
For those with highly custom, image-based interfaces, a fair amount of work will be required in scaling up elements to take full advantage of the iPhone 4 Retina display. Scaling user interfaces for higher detail displays — or increasing size on the same display — isn’t a new problem. Interfaces that can scale are said to have resolution independence.
Most people who have designed websites or apps in Photoshop will, at one point or another, have had issues trying to match colors in images to colors generated by HTML, CSS or code. This article aims to solve those problems once and for all. So how can we achieve color management that matches colors across multiple devices? [Updated February/28/2017]
In the print world, color management typically involves calibrating your entire workflow, from scanner or digital camera to computer display to hard proofs to the final press output. This can be quite a tall order, especially when the devices use different color spaces — matching RGB and CMYK devices is notoriously hard.
When designing or editing for TV, calibrating the main editing display and using a broadcast monitor are common; these show real-time proof of how the image will look on a typical TV in a viewer’s home. In such a scenario, color management offers many benefits and is highly recommended.
When building Web and application interfaces, the situation is a little different. The final output is the same device that you’re using to create the artwork: a computer display (putting aside for now differences in gamma between Windows, OS X prior to 10.6 and the iPhone, which we’ll cover later.)