Saturday, September 30, 2017

export - Settings to create transparent PNG's with minimal file size for mobile devices


I want to create a theme for android phones. I guess the best way to go is to create a file that is as light as possible.


Now I want to create the files in photoshop, they have to be transparent PNG's. Now I see that there are a lot of different settings I can use, for example the image mode: lab, rbg, etc. There are also different bits, 8 bit, 16 bit etc.


Now what settings can I use to create good sharp png's but with a minimal size.


Maybe someone could share some tips on exporting. I now export for web & devices, but maybe there is another option.


Maybe there is also better software than photoshop to do this.



Answer



The only color space to use for image prep for mobile devices is RGB. (You can use others temporarily for retouching purposes, but your final output will always be RGB, so best work in that space all the time.)



sRGB is the safest, since you don't know the capabilities of specific devices at design-time.


Save for Web is your best option inside Photoshop. 8-bit will result in significantly smaller file sizes than 24-bit, and the visible difference is often negligible, especially for small screens.


See this question on superuser for a comparison of several PNG compression utilities.


interaction design - Giving positive/negative connotation to two textual options/buttons


I'm developing an "photo editor'ish" mobile application. After the user has finished processing their photo (such as choosing filters, shape, etc), the user should save the outcome to their camera roll.


I'm offering two options:




  1. Save for free, with a watermark on the final picture





  2. Save without a watermark (if selected, an In App Purchase window pops up).




This is how I've made it look now :


screenshot of buttons saying


I would like to increase my In App Purchase rate. How can I make the first option look positive and be triggered more frequently than the free watermarked option?


UPDATE


This is what i went for at the end. I tried to make to top one more positive than the bottom by appending the word "Save" only to the first one –


enter image description here




Answer



Why are you using 'Export' word in red button and 'Save' in text Button?


I see a good approch. But Text Button looks very different, I thought it will have different funtionality. Both buttons belong to same group.


So design keeping consistency.


enter image description here


See above, it looks like both are clickable and are buttons.


Fan Fiction: a crutch or a good start?



Writing is writing, but I am not confident enough to take on creating a whole world from scratch. Will writing fanfic or writing in other shared world spaces be beneficial, or will it simply allow me to get into some bad habits?



Answer



As long as you approach it with good writing practices and treat it as you would your own real writing project, it can help you practice the art of putting words on paper.


What it will not prepare you for, however, is world-building, which is the other half of the battle when you write, and is just as important as your ability to write. You can be a brilliant wordsmith, but without a story to tell and a world to tell it in, your talent is wasted. At the same time, you can have the most compelling story ever conceived, but if you don't know how to put it in words, there's not much you can do with it.


In short, writing fan fiction only partially prepares you for the "real deal".


adobe illustrator - How to smoothly connect a circle with rectangle shape at the tangent?



I would like to connect a rectangle with a circle at its tangent in illustrator. The problem is – and i hope you can see it in the image – that the transition is not very smooth and quit ugly.


How can you get a smoother transition like here: Helvetica J


and not like this:


Circle + Rectangle


Thank you for your advice!




Friday, September 29, 2017

Get people to read FAQ before contacting support


We need people to check the FAQ before contacting support. The current solution we are using is to name the entire section of the web page FAQ, even though it also contains a form to contact support at the bottom of the section. This is because a vast majority of the questions asked to the support team are answers that can be found in the FAQ area, but it seems wrong to "trick" the users to read the FAQ this way.


I noticed that this site is using a pretty nice thing, links to similar questions pops up when I write some key words as I am writing this very question, to prevent duplicate question. We would, however, like to solve the problem with less technical development (as this suggestion system probably needs) due to lack of time at the moment.


Do you have any good solutions to this?




animation - Wobble a simple sketch to animate it


I'm wondering if there is a tool or simple method that will allow me to turn a simple pencil/pen sketch into something like the two images below.


I received these in a newsletter from a Kickstarter project and wondering how someone would go about making them.


Simple wobble Wobble with some animation



Answer




It's easier to see when you take the frames apart and then it becomes apparent that the line tickness and placement are randomized. There are a range of filters you could use, especially in Illustrator.





  1. Wobble One




  2. Wobble TWO




  3. Wobble THREE




There are in fact ten frames, I've only uploaded three...Then, slowing down the animation, to one frame per second, so you can see the differences....



TenFramesonepersec


ADOBE WORKFLOW PRODUCTION NOTES:
1. Create the illustration as Vector art (in Illustrator)
2. Duplicate the Art to ten separate layers (just copy the content through the layers)
3. Use Pucker and Bloat and other filters in Illustrator on each layer- move elements
4. Turn Transparency Grid on (in View) if you want a transparent GIF
5. Use EXPORT as PSD feature (FILE> EXPORT> Photoshop PSD)
6. Specify that you want layers exported
7. Open in Photoshop
8. In the animation panel, switch to FRAMES and set each of the ten frames to 0.3 secs

9. Export as "Save for Web And devices" Select GIF and make sure to select if you want it to play continuously (yes)
10. You could use this as an element in a JavaScript animation.


Special note to self Should take about an hour and a half per segment. Remember to get the storyboard approved first, or you will have to redo all this tedious S*hit@ to change just one word.


Finally, sit back and wait for your Webby Award/ Animation OSCAR nomination and the invevitable moment when Cameron Diaz asks for your cell number... don't worry about the patent mentioned above - an illustration style can not be patented, only the software.


adobe photoshop - How do I move my mask independently of my layer?


I'm trying to move my image without having my layer mask move with it. How do I move the image without moving the mask?


See the images below for a visual depiction.


enter image description here


Is it possible to move just the image?



Answer



To make only the image move you should unlink the mask to the layer by removing the chain icon in the layer panel. This way, the mask and layer move independently of each other.


Blue Overlay Example


accessibility - Font Size Amender



Is there still any need for a font resizer in web apps?


Modern web browseers easilly allow you to zoom in on content. Older browsers such as IE6 and IE7 require you to change the font size via changing the text size in the View menu.


I used to add three A A A links to specify different font sizes within the web application itself. Clicking on one of these links would increase/decrease the default font size and save the setting in a cookie.


I'm just wondering if people think this process is still required?


Cheer Sniffer



Answer



If someone is looking to change text size, having the ability to do so in the browser and on the site means they're more likely to find the option. However, something to think about:


If in testing or conversation you find people actually using your zoom buttons, your text is too small.


Whether or not the site design is clever matters much less to your users than if your paragraph font size is too small and usability is reduced. Rather than need the text re-sizer, seriously weight the option of just making the content larger (or alternatively, programming content size so that the browser defaults, set and preferred by the user, are used instead of your own proclivities).


A few resources to consider the conversation further:




readability - Is OK/NOK better than "fail/success"


My team is discussing how we should indicate, in a logbook, whether a specific action ended with success or not. I started putting it like


timestamp | action name (fail)    | description

timestamp | action name (success) | description

One of the team members suggested replacing fail/success with OK/NOK:


timestamp | first action name (OK)    | description
timestamp | 2nd action name (NOK) | description

I wouldn't mind such a detail, if he didn't say it would improve readability. I doubt it:



  1. OK and NOK correlate to 66 %, so arguably when quickly going through a lot of text, it is probable to confuse NOK for OK. To the contrary, fail has 0 correlation with success.

  2. fail has a varying letter height, which success doesn't, making them look very different.



Am I thinking in the right direction? Is there any resource where I can read about such details? I believe something like this should be very well known in the area of cockpit or nuclear power plant control room design.



Answer



It appears that the biggest problem is being able to find the status indicators within a large group of text.


Barring some significant technical limitation, I would say your solution should be to display the status of each action in its own column.


This makes your question of exact terminology much less important by



  • Reducing the importance of terminology for the sake of visibility

  • Providing a clear, easy to scan column that displays the statuses in a consistent location





But to actually answer your question, I'd go with the "fail/success" pair without considering the exact context in which you're displaying this information.


tools - Should I start writing on paper first or start directly on the computer?


If I have an excellent idea for a story, would it be wiser to write on paper first or start directly on the computer? There are many different reasons for beginning stories on paper as well as on the computer and I'd like to know about the different advantages of each side.



Answer



I would recommend to just go with what you find most productive for yourself, but since you wanted a list:


Paper:



  • Pros:

    • Can be used almost anywhere

    • Cheap, simple, reliable


    • Easy to arrange how you want it

    • No sudden data loss (unless actually lost)

    • Lets you draw a little sketch on the side

    • Won't die on you if it gets a bit wet

    • Probably wont get stolen



  • Cons:

    • Can cramp your hands faster


    • Harder to edit

    • Often doesn't leave room for inserting new things in the middle

    • Increases in bulk over time




Digital:



  • Pros:


    • Insert, update, rearrange (or the dreaded delete) at any place in the document

    • Quick access to spell check, dictionary, thesaurus

    • When combined with something like Dropbox, all your internet-enabled devices can be used

      • Also works as a backup



    • Instant word count

    • Can format it right then and there (if you're into that)

    • Instantly sharable over the internet


    • When combined with a Version Control System (Git is a favourite of mine), it's easy to branch/fork/draft a story in multiple directions.

      • Also lets you share and edit with multiple authors easier





  • Cons:

    • Need to keep a device on you and charged up


    • Distractions said device can bring along with it

    • Can sometimes be a little too helpful (red squiggle invasion!)

    • Gives you too many formatting options to waste time on

    • When it's gone, it's gone! Backups might not always be there

    • Inadvisable to use in wet environments

    • Could get stolen

    • Microsoft Word is a terrible file format (don't use it!)





I myself prefer digital (Dropbox + iPhone!), but YMMV.


usability - What are the design guidelines to make interfaces friendly to dyslexics?


I've come across this question on Quora where it's likely to be forgotten.


Unlike other disabilities that are often considered in design, dyslexia has many forms. As a result, the guidelines can't be just one-liner, such as "use X font" or "make sure contrast ratio is Y".


The best answer must cite hard evidence.



Answer



There a number of one pagers that talk about how you might design a site for users with dyslexia, I would recommend this three part series Designing for Dyslexics as a solid foundation:



  • Part 1 (Definition of dyslexia, population size, implications/effects)

  • Part 2 (Lower color contrast & visually impaired users)


  • Part 3 (Typography, layouts, language style, information architecture, screen readers)


Here is a style guide from the British Dyslexia Association.


Thursday, September 28, 2017

adobe photoshop - How can I remove the white pixels around the edges when exporting a transparent GIF?



I took the loaders from xooplate.com then exported them with the help of the included action to a GIF. But I have some white pixels around the loader which are really annoying when displayed on a dark background. You can see it here, in a frame I extracted from the gif:


enter image description here


How can I prevent those white pixels and maintain the transparent background?



Answer



The way transparency works with 8-bit gifs/pngs is that a pixel is either fully transparent or fully opaque.


On the corners of a circle where the circle blends transparently to the background, there are usually pixels that are semi-transparent to smoothen the transition. This smooth transition can not fully be reproduced with 8-bit gifs/pngs.


One way of faking this is to select a background matte for all those semi-transparent pixels. This means those pixels that are not fully transparent get their color calculated as if they were on top of the matte color.


The white pixels in your circle gif happend like this, because they gif was made to be used against white background. The semi-transparent pixels of the original circle got rastered against the white matte color, resulting in almost white but fully opaque pixels around the corners.


The way to remedy this if you have the original, fully transparent circle is to save for web & devices and select a matte color that suits your background. That way, potentially semi-transparent pixels will get merged to fully opaque pixels against the matte color, and viewed on you website with similar background color, it will appear fully smooth. Note that a) graphics with small ranges of semi-transparent areas (in pixels) work best, and b) this requires that the background the gif is shown against is some of what in a consistent color that you pick for your matte.


enter image description here



In this image:



  • The top left is the original round graphic with anti aliased, i.e. smoothed, corners.

  • The same result you get with png-24, as seen in the top right - but this does not work for animation.

  • The bottom left view shows you how the semi-transparent pixels of the graphic get transposed onto the selected red matte color. Also note how those pixels, that are completely transparent, remain completely transparent. Whereas only those pixels that have a bit of transparency in them get "underlayed" with the matte color, and the fully opaque pixels remain completely unaffected by the transparency settings (however, they are affected from selections on dithering type and colors).

  • The bottom right resembles the kind of exporting options that were used for your example image. With a white matte selected, the same pixels that show red in the bottom left image, will show white in the bottom right image. This is perfectly acceptable if you show it against white background. With other, darker, backgrounds, the white pixels show because the use the wrong matte color to create fully opaque pixels for any pixels not fully transparent.


See the both gifs exported with red and white matte in this image, against different background. This shows how the red matte nicely blends with a red background, but also how disturbing the white matte shows against a black background.


enter image description here





If you are in the unfortunate situation, that you do not have the original file with full anti-aliased alphas (i.e. you only have the 8-bit gif), it is troublesome to reverse this matte rastering - pixel by pixel you have to remove the matte color from the semi-transparent pixels and then re-export them with more appropriate settings.


What are best practices for determining responsive design breakpoints?


I've done a lot of research trying to figure out where to put my breakpoints for designing a responsive site. There seem to be at least three, maybe four common plateaus: phone, tablet, and two desktop (normal and gigantic). What I'm not seeing is a consensus on what those points are. 320 or 480 for phones? 768 for tablets? What for desktops?



What method do I use to determine what good breakpoints will be for my site? (Assume it's a new site so I don't have analytics of previous visitors.)



Answer



I think there's two popular ways to approach this: device-dependent breakpoints and design-dependent ones. While I do try to build my CSS from mobile on up towards large screens, I don't pre-define breakpoints.


I start with as many intrinsically responsive elements as possible anyway, making use of the inherent property of block-level elements to try to fit in their containers and using min-width and max-widths and percentages (and recently viewport units) on top of that.


Only then will I start resizing the browser from small to large, and as soon as I hit a point where an element starts to look like it shouldn't, I introduce a breakpoint. I might group a few if they're within like 20 pixels of each other, but after that I'll happily create a new breakpoint.


Most projects I work on end up with 3-6 breakpoints, each with a small handful of selectors. Sometimes even just one selector in a breakpoint to adjust that one element after a certain width. I never predefine them though.


In short: I let the design decide the breakpoints, not the device. Each design is different.


For further reading I recommend this blog post.


Wednesday, September 27, 2017

options - How much can be said about the Greeks without picking a model?


Let $C(S, K, \sigma, r, T)$ be the price of a call option. How much can be said about the Greeks without picking a model? Or at least without full Black-Scholes?


Below, I write down everything I know in the hopes that



  1. people can refer me to a book that does similar things

  2. it will be useful for people reading it in the future



Delta


$\Delta = \frac{\partial C}{\partial S}$


The amount of stock you should hold for continuous hedging (no t-costs)


$\frac{\partial C}{\partial K} = \frac{1}{K} (C- S \frac{\partial C}{\partial S} ) $


Proof: assuming that $C$ is homogeneous in $S$ and $K$, apply Euler's homogeneity theorem.


The bull spread tells us that $\frac{\partial C}{\partial K}$ is positive. (You could also justify this for $\Delta$ directly with hedging). Hedging shows that $\Delta$ is positive and $\Delta|_{S = 0} = 0$, $\Delta|_{S=\infty} = 1$.


Gamma


$\Gamma = \frac{\partial^2 C}{\partial S ^2}$


This is also for hedging


$$C(S+dS) - C(S) \approx \Delta(S) dS + \frac{1}{2}\Gamma(S)dS^2$$



but since you can't just use the underlying, it's a little less clear to me. The butterfly spread shows that $\frac{\partial^2 C}{\partial K ^2} = \left( \frac{K}{S}\right)^2 \Gamma$ is positive.


Rho


$$\rho = \frac{\partial C}{\partial r}$$


$r$ can't be a parameter of a truly model independent $C$, so I guess I made the implicit assumption the bond price evolves as $d B_t = r B_t dt$ so $B_t = e^{-r (T - t)}$.


I suppose it would make more sense to have $C$ as a function of $B$ rather than $r$, but it's very similar to $\rho$:


$$\frac{\partial C}{\partial B} = \frac{\partial C}{\partial r} \frac{\partial r}{\partial B} \\ = \rho \frac{-1}{BT} $$


$\frac{\partial C}{\partial B}$ (not sure if it has a name) tells us how much of the risk-free bond to own to hedge, but I have less insight into it than $\Delta$.


Theta and Vega


$$\Theta = \frac{\partial C}{\partial T} \qquad \mathcal{V} = \frac{\partial C}{\partial \sigma}$$


Again, to have $\sigma$ as a parameter in $C$, some sort of stock price dynamics has to be understood. Both $T$ and $\sigma$ are reasoned about as uncertainty which shows that they are usually positive.



I don't have a very good model independent handle on either of these, but I'm sure it's possible to say something without going full Black-Scholes.


In particular it would be nice to get


$$\Theta = \frac{\sigma}{2T} \mathcal{V}$$


for when $r= 0$. This intuitively comes from the fact that volatility scales with square root of time, and so the option only depends on the volatility adjusted time $\sigma^2 T$.



Answer



Find the topic of model-independent properties of option prices very interesting as well. Here are some results that I am aware of and the respective references in the literature. Some are already contained in your initial list as well.


Plain Vanilla Prices are Convex in the Strike



  • Theorem 4 in Merton (1973).



Delta is Bounded by the Slopes of the Payoff Function



  • Even under geometric Brownian motion this only holds under no holding cost for the underlying asset.

  • Bergman et al. (1996) show this to hold for European options under certain one- and two-factor diffusion models and allow for jump discontinuities in the payoff function (e.g. digitals). See also Epps (2007), Chapter 8.

  • El Karoui et al. (1998) extend the result by Berman et al. (1998) to American options. Hobson (1998) gives an alternative proof.


Gamma is Positive for Convex Payoffs



  • Bergman et al. (1996) - see previous point for the conditions.



Homogeneity in Spot and Strike



  • Theorem 9 in Merton (1973) and Bates (2005). This only holds when the underlying exhibits constant returns to scale. Exceptions are e.g. local volatility models.


Vega is Positive for Convex Payoffs



  • Theorem 8 in Merton (1973) shows a slightly more general result, namely that the value of a convex payoff is non-decreasing in the riskiness of the underlying asset. In the geometric Brownian motion setting, riskiness corresponds to the diffusion term and thus vega is positive.


References


Bergman, Yaacov Z., Bruce D. Grundy and Zvi Wiener (1996) "General Properties of Option Prices", Journal of Finance, Vol. 51, No. 5, pp, 1573-1610



El Karoui, Nicole, Monique Jeanblanc-Picque and Steven E. Shreve (1998) “Robustness of the Black and Scholes Formula”, Mathematical Finance, Vol. 8, No. 2, pp. 93-126


Epps, Thomas W. (2007) "Pricing Derivative Securities", World Scientific, Chapter 8.2.1


Hobson, David G. (1998) “Volatility Misspecification, Option Pricing and Superreplication via Coupling”, Annals of Applied Probability, Vol. 8, No. 1, pp. 193-205


Merton, Robert C. (1973) "Theory of Rational Option Pricing", Bell Journal of Economics and Management Science, Vol. 4, No. 1, pp. 141-183


adobe photoshop - Some kind of dithered halftone? Pointillist-style bitmap effect?


I am unsure how to reproduce this effect on a photographic image. Any ideas?


enter image description here





pathfinder - Why is Illustrator's minus front not working?



I have some white lines (converted to path) on top of my star shape (rasterized) as shown in the picture. I am trying to "delete" the white lines from the shape so the shape gaps can be seen in transparent if that makes sense. The rectangle on top right shows what I am trying to achieve.


I tried to select both the star and the lines path and use Minus Front from Pathfinder and although there seems to accept the command nothing happens. What am I doing wrong? Can this also be achieved using clipping masks?


enter image description here



Answer



Illustrator can't do Pathfinder effects on rasterised files it has placed.


To achieve this effect, you will indeed have to use a clipping mask:



  1. draw a circle snugly around your star;

  2. unite all your white lines to a single shape;

  3. subtract the lines shape from the circle using the Pathfinder;


  4. ungroup the result...

  5. ...and make it a compound path: Object > Compound Path > Make or Ctrl / Cmd+8 or right-click > Make Compound Path;

  6. remove fill and stroke from the compound path;

  7. select both the compound path and your star;

  8. choose Object > Clipping Mask > Make or right-click > Make Clipping Mask.


adobe photoshop - Should I design PSDs for Desktop, Tablet and Mobile separately in responsive design?


I'm trying to design a responsive web site in Photoshop. But the question is should I design different PSDs for all these devices? (Desktop, Tablet, Mobile)



If yes, what page size should I choose in Photoshop for all of these devices?




vector - Illustrator: A way to merge overlapping lines of adjacent shapes?



I often create designs that I need to bring to a laser cutter. To save time and material, I pack repeated shapes as close as possible. The ideal scenario is that shapes share a single line where possible; for example, two (or more) squares put adjacent so that they share a common side.


The problem with simply aligning the squares to be adjacent is that two path still exist in the overlap, and the laser will pass through that area twice. This double cut wastes time and reheats the material in that area. For this simple example, I could manually draw a long rectangle and divide it evenly into squares with single lines, but this becomes much more difficult with even slightly more complex shapes.


Is there an automatic method to merge overlapping paths into a single path? The similar questions I've seen here about this involve merging paths that overlap entirely vs paths that share an adjacent side or sides.




Tuesday, September 26, 2017

tree-view for mobile devices


Is it a good idea to use tree-view UI structure in iPhone or other Mobile devices? (e.g. for file browsing etc.)





lists - Which is the best way to select a language from 400 possibilities?


We are defining a language selector for 400 languages. Given the massive number of languages compared to other websites, we applied several mechanisms to reduce the complexity of the language list. The current design is shown below.


Design for the language selector


The mechanisms applied are the following: - Provide a short list to anticipate user needs. A list of six languages is provided based on the browser settings, the geographic area of the user, and previous selections. If the language is not in the list, the user can access a larger list of languages with the aids listed below.




  • Flexible search. The user can type the language he is looking for to reduce the list of possible languages. Search will be flexible so the user can type the language name in a different language.





  • A map for filtering. A world map divided in three regions is used to filter the language list (with the user region selected by default). The world has been divided in just three regions since defining more regions requires more precision in the selection and geography knowledge.




  • A list of languages arranged by script type and region. The list of languages has been divided in different geographic zones and languages are arranged by script type (to make it easy for the user to identify zones of interest in the big list). The list also highlights the languages which are likely the user is interested in.




More context information can be obtained from the project website.


Considering that language selection is a mechanism with a transient posture and it should not interfere the main flow of actions from the user. Is there any other mechanism (or combination of such) that can help to reduce a long language list with minimal distraction for the user?




Where could I find some free/commerical stock icon packs?



What are some free/commercial stock icon sets?





Where can I find existing System Usability Scale (SUS) results to compare against?


I'm looking for a resource of existing System Usability Scale (SUS) study results to compare against.


I've read in a few papers/webpages that plenty of such data is available, unfortunately I can't seem to find any immediately.


I could probably find separate papers with separate results, but I got the impression they were talking about databases.


Are there any resources which compile SUS study results and optionally allow you to access it by category?




fiction - Background speech with foreground dialogue


A few days ago, I stumbled upon an issue of the type; meaning I had two characters talking between themselves and another character talking in the background; actually delivering a speech.


What the problem is, is that what the speaker's saying is important (for the most part at least) to one of the characters talking (could be both, but it was only one in my case).


I'm not sure how to get this in writing, as opposed to how easily this is done in movies (background speaker's volume is lowered by about half maybe while the characters in the foreground can whisper loud enough for the people watching the movie).


Should I maybe use some fancy formatting to set it apart from the foreground dialogue?


Such as:



"The individuals or groups responsible for the senseless bombing..."


She approached him taking care not to make any noise or disturb anyone around her. She seated at Jimmy's right side and peered at him. "What's going on?"


"... will bear the full weight of justice."



He grimaced from the interruption. "The President's delivering his statement about the bombing yesterday."



or with more interaction between the characters:



"Is any of you strong enough to hold the rubble while we get inside? I wouldn't want to..."


Tommy was about to step forward to help, but was interrupted by Sydney. The latter visibly was out of breath. "Finally I found you! Bad news, other regions have been affected and the damages have been far reaching."


"Yes, like this, but this isn't enough, I'll need more..."


Tommy bit his tongue. He couldn't leave everyone here, no matter how hard he wished to. "What is the progress towards clearing the exit?"


"Hey you there! Could you leave your damsel and give me a hand?"




Or is there a better/more effective way so that readers don't get confused? The speech styles of all the characters involved may not necessarily be different. Or is this something to be avoided in writing completely?


EDIT: The speaker in my case will soon interact with the other characters as well. It seems relevant, so I added another example.



Answer



I think your first example is perfect, making sure that you drop out words from the speaker to indicate the passage of time as your foreground characters are talking "over" the speaker. It makes perfect sense to me as a reader what's occurring.


conversion - Product Ratings: Do no ratings hurt worse than negative ratings?


We just implemented product reviews onto our site. There's a serious lack of reviews obviously and we believe it's really hurting our sales since we haven't made any other big changes. Our sales were down 10% this month.


What would be the best way to approach this? Should we collect a bunch of reviews and wait to even show the ratings system or should we ditch the idea all together? The content they create is very helpful and good for SEO but we'd really like to sell more.


Do you think people view a lack of reviews negatively or apathetically?



Answer



Lack of reviews certainly looks like lack of activity, I would personally recommend taking advantage of the "0 reviews" situation. Instead of just displaying that you could have a little label that says something like "No reviews yet; be the first to Review!" Or maybe just "Own this product? Write a review!" if you want to not draw attention to the fact that there are no reviews.


Users like leaving feedback and being the "first," I've seen lots of sites attempt to capitalize on empty comments sections by encouraging the behavior (however I haven't done it myself so I don't know how effective it is). Also make sure your review process is as easy as possible for the user, maybe even remove sign-in requirements if users might have a product but not be signed in. Heaven forbid the the dreaded $300 million button is preventing user feedback.



Quality of reviews can be a problem, but you can always remove spam afterwards, it's certainly better to filter 9 unhelpful reviews to get one helpful one than to have no reviews at all (Just don't use this as an opportunity to discard unfavorable reviews). As @Kashyap said, holding reviews to vet them might discourage users by removing instant feedback and making them think you're moderating for unfavorable reviews.


programming - How to sample from a copula in matlab


I have two random variables (say, X and Y). Each of these rv's are defined by their CDFs (CDF_X and CDF_Y). These CDFs were obtained empirically, so they are a "stair" graph. I also have a copula C representing the relation between X and Y. This copula was obtained through a kernel estimator.



I want to sample (say 10 points (X,Y)) from the bivariate distribution of X and Y (that is, respecting the dependence relation imposed by C).


How can I do such implementation in Matlab or in R? I prefer Matlab.



Answer



Suppose you have the copula $C(u_1,u_2)$, then you could compute the conditional copula


$$c_{u_1}(u_2)=\frac{\partial C(u_1,u_2)}{\partial u_1} \; .$$


Now, you can generate a pair of independent uniformly distributed random values $(U,V)$. Let's say a particular realistation is $(u,v)$. Then the pair


$$(u,c_u^{-1}(v))$$


will be distributed according to the copula. You only need to apply the inverse CDF's to get them distributed like $(X,Y)$. Say $X\sim F_X$ and $Y\sim F_Y$, then


$$(F_X^{-1}(u),F_Y^{-1}(c_u^{-1}(v)))$$


is what you need to do in the end.



An example in Matlab for a Clayton copula


%% Simulations of Clayton copulas using conditional cdf

%Example for theta=4
n=3000;
theta=5;
u=rand(1,n);
y=rand(1,n);
v=((y.^(1/(1+theta)).*u).^(-theta)+1-u.^(-theta)).^(-1/theta);


x1=norminv(u);
x2=norminv(v);

plot(x1,x2,'.')

What is the difference between web design, interaction design, user experience design, and user interface design?


It seems all four of these branches of design relate to each other at one point or another, and one can easily be confused for another by novices or outsiders looking in. Job postings online frequently interchange the terms for job openings, yet explain similar descriptions of job duties.




Monday, September 25, 2017

programming - Is there a charting API which allows to replicate Bloomberg chart tool features?


I believe that most of us will agree that being able to compute values is only part of our job, as we would also like to be able to display them nicely in order to better understand or help co-workers/clients understand some concepts or results.


We usually try to do this using charts, most of the time from MATLAB and R during development phase, but the charting libraries do not allow you easily to modify the chart after it has been created.


I have been occasionally using the Bloomberg Charting interface, and I must say I think it is particularly brilliant, as it allows you to:



  • Zoom and scroll

  • Add vertical/horizontal/... lines

  • Compute performances between points

  • Add technical indicators


  • Possibility to export the graph to the clipboard

  • And so on.


Most of the charting libraries I have been able to find so far for .Net only have a few of this features, but almost none allow the users to add/remove graphical elements from the cart easily.


I was wondering if somebody knew a good charting API which provides a control with which the user can interact extensively (like in Bloomberg) once the data is displayed?




How do you write a fiction or non-fiction query letter to an editor?


What do you put in the letter? What if you have no experience, or only very limited experience. Should you write about yourself in the third or first person when explaining your experience?



Answer



There are multiple parts to a query letter. The first part is you. What kind of writing experience do you have? Have you published four books already? Do you have a dozen short stories in various magazines? Have you won any writing awards? Do you have any experience in the publishing world - editing, lit agent, etc. This is where you want to "sell" yourself. If you're writing non-fiction include what gives you the authority to write a book. Are you an emergency room nurse and you're writing about first aid tips or what live in the emergency room is like? This would be written in first person, unless the publisher specifies otherwise.


The next part is about your book. You're going to want to give them a summary about what the book's about, who the characters are, and how it ends. Yes, they want to know how it ends. Don't leave them with a "Will Bobby survive his detention-from-hell?" That's going to annoy any publishers or agents reading the query. If the book has been published before, you'll want to let them know that, where, how long ago, and if rights have reverted to you. If it's been published before you'll also want to let them know if it's won any awards.


Just like you'd want someone else to look over your novel for errors and mistakes, have someone proof read your query letter too. Nothing will sink your chances of getting published like a query filled with errors.



Vectorize a PNG file in Adobe Illustrator CC 2017


I need to open a white PNG shape in Illustrator. I want to convert it into vector and change the color. In CS6 is very simple to do this. Can you help me to do this in CC?





color scheme - Alternate row in Microsoft Modern UI (Metro)


Can I use alternate colors for rows using Metro design guidelines?


And if I've multiple ListBox in the same view which is the suggestion?


Can I use alternate colors (the same for each control)? I see that this creates a bit of confusion.


[Update]


Here the sketch. The mockup.



Answer



Design guideline shouldn't be a barrier for some usability improvements. Guideline is universal document while each case could have its own features.



For easy reading of separate rows (in tables etc) one should be able to distinguish them. So, be sure, whether reading is hard. Then use some techniques to distinguish them. It could be not only alternating colors, but supporting lines, too. In any case, it should be just enough to distinguish, not to cry out of it.


enter image description here


Designing a flyer in illustrator


It's my first time to design a flyer in adobe illustrator, but I have a few questions that may sound naive or easy for all of you as experienced designers. I really need your answers as I have to deliver that flyer to the client tomorrow. note that: I already watched all videos on youtube !


1) My document is 4.25 x 5.5 inch, so what should be the bleed?


2) I placed the images in my flyer design, but I can see that those images loss their quality, how can I place them without losing quality, are there additional steps after placing them? and how to make them print- ready with the highest quality as part of the flyer design?


3) How to save the flyer as a PDF for print-ready with all the images and texts added? what are the options that must be changed?





pricing - Price of a prepayment-based claim


I am trying to determine the pricing formula for a given claim inspired in prepayment obligations backed by mortgage portfolios $-$ I believe these were popular in the eighties.


The product mechanism is the following: consider an underlying mortgage of principal $N$ which is contracted at $t=0$ and which must be reimbursed at $t=T$, from which the principal payment has been stripped from the interest payments $-$ hence we are essentially considering a zero-coupon bond paying $N$ at $T$. However, the borrower has also the option to prepay the full amount at any time $t$ between $0$ and $T$. The buyer of the product will then get the amount $N$ when the borrower decides to pay.


Now, let's define the stopping time $\tau$ as the time at which the borrower decides to prepay. For example, you could assume that the borrower will prepay and subsequently refinance its mortgage if the mortgage's reference interest rate $r(t)$ decreases below a certain level $L$. In such a case, we would have:



$$\tau = \min\{t: r(t) \leq L, \: 0\leq t\leq T\}$$


My question is: is the price of this claim at $0$, $P_0$, given by the following risk-neutral expectation?


$$P_0 = \mathbb{E}^{\mathbb{Q}}\left[N\left(\mathbb{I}_{\{\tau

My doubt is mainly related to the first discount factor, which goes from $0$ to $\tau$.




psychology - Why don't users want to see adverts relating to products/services they might be interested in?


As we all know, Google's content display network, as well as many other successful setups rely on delivering targeted adverts to users to increase the chances of adverts falling in front of the desired audience.


I can't quote or link to any specific examples, but I've read many, many, many complaints from users online that keep seeing adverts for things they've searched for.


From a user experience point of view, what is the reason for this? Common sense surely dictates that someone that searches for "buy baseball bats online" might have an interest in buying a baseball bat online - and to an extent, other products relating to baseball. Surely it's a good thing that they see adverts relevant to their interests?


Why would seeing adverts for baseball goods/products not be desired over something completely random like movie rental or new dishwashers?


Edit:


Given that this question has become quite popular, I'd just like to point out (for the record!), that I don't enjoy my browsing experience being disrupted by adverts either; in fact, most of the time I do not even notice them (or when I do, depending on the advert it can give me a negative impression of the brand in question).


This point is out of the scope of the question, the question was specifically to do with why users seem to complain more over targeted ads, than untargeted - which I believe we have some extremely helpful and definitive answers to.




Answer



Users generally do prefer targeted ads to untargeted ones, all other things being equal. However, there are other important factors which explain why user reaction is mostly negative overall:



  • Users don't spend all their time purchasing goods on the internet - often they are doing different and completely unrelated tasks, sometimes at the same time. Most people spend a very low proportion of their online time on ecommerce websites, and even then most of the time they aren't looking to buy anything.

  • Given this principle, users often prefer to see no adverts when they are not buying - an advert in a non-commercial context is intrusive and annoying - and this is especially noticeable when the adverts are relevant to something you were searching for earlier.

  • Targeted advertising can feel "creepy", especially if it follows you around from site to site. It's a constant reminder that your browsing and search habits are being tracked by someone, and people's mental models of the internet generally conceive of their browsing experience as being relatively private. Even if the process is completely automated, the degree of intelligence required to display ads to you makes it seem like you're being watched.

  • Often users reject specific adverts due to poor relevance or some other factor; they then don't want to see it again. For example, if your advert is trying to sell me a catching mitt because I've searched for a baseball bat, then that advert appearing again and again is annoying because I have mentally decided that it's irrelevant. Persistence is not necessarily a virtue in this case.


big list - What are the quantitative finance books that we should all have in our shelves?


Which books/papers should we all have in our shelves?


There are a couple that I use regularly such as:



Which ones do you recommend for which topics?




Sunday, September 24, 2017

book - How to create 'sub' tables of contents for each section in a table of contents in Adobe InDesign?


I have a document with multiple sections that has a table of contents (TOC) at the beginning, which includes h1-h3 styles for the whole document.


I want to create a sub TOC for a single section that includes the h1-h3 styles in that section only.


In other words:


I want to create another level of contents within each existing contents section.


Is this possible without having to create new heading styles for the specific section?


How can I create multiple contents tables within an existing contents table in InDesign?




page layout - Do we perceive images in text reading direction?


I received a graphic in a presentation with equally weighted items in it. Their order did not match my expectation, so I started to wonder why that would be. Finally I figured out that I was reading them in text reading direction and that order did not match the order in which the text explained them. Therefore my question is:


In case a graphic has no special points of interest, do we tend to read images in text reading order, i.e. from top to bottom and left to right? What is the reason for it?


As a consequence




  • I would make the proposal to change the order of elements to match the sequence they were explained in the text

  • I might need to update some images in another project where they are used in context of a right to left language.


From my personal try with the following picture, I agree to this theory. I stared at the middle first, not finding anything useful, then starting from top left to bottom right. Side question: is this test ok or did I make a mistake designing the test?


Test image



Answer



I think the test is incorrect. These are not images but letters. It's normal for our minds to try and read the letters although they are separated in boxes. If they are actual pictures, I think we wouldn't "read" them in any particular order but instantly see the one that is most interesting to us. Size would also play part here. If the images are big enough to look at their detail, we would scan them in a more chaotic order than if they were small and lacking detail. I think the correct way to study this topic is to display a matrix of images for a brief time (1-2 seconds) and ask the participants to remember what they saw. If they remember the top left picture you can prove your point. My bet is they would remember images that are near the center. I also think that they would scan LtR if they are asked to remember as much as possible. They would try to make an array of images by remembering them LtR.


registration - Should we restrict signup for a service to Facebook accounts only?


There are obvious advantages to limiting sign-ups to a service like Facebook connect - getting a name, age, avatar, etc. without the annoyance to your customers of asking them to fill it all in.


We are currently considering this, but there are some good arguments for using other services as well - such as Twitter, LinkedIn, Google, etc. I can even think of some very good reasons (privacy being chief amongst them) to still keep our own sign-in.


The issue then is that giving people too many options is not a good UX.


Our target audience is subject specific (architecture, language learning, etc.) so we can't predict our customer audience very well yet.


What would you use for sign-ups and why?



Edit: I need to add that our application is targeted at mobile use, so screen real estate is also a consideration in showing many options.



Answer



Facebook only? Don't do it! I would always give people the option for maximum chance of sign up. Sign up forms that allow for your own sign in and using another account don't have to be complex, although many do seem to be for some reason. Digg is a good example of one that keeps it pretty simple.


You already said you don't know your customer audience that well - so why throttle it with such apparent inflexibility from first sight.


enter image description here


Saturday, September 23, 2017

adobe photoshop - How to paste a copied selection in the same spot as the original selection?



I have Photoshop CC installed on many machines and the behavior in question happens randomly. Or I keep doing something seamless that I pay attention to that results in this behavior. To recap: I make a selection on a layer, I copy that selection and then I paste. This results in a new layer being created on top of the original layer, composed of that copied selection, but the position of that layer is shifted randomly. I want the newly created layer/pasted selection to appear in the same exact position (on top of the original layer).


enter image description here



Answer



If a selection is active, then the paste command will paste in the center of the selection.


If NO selection is active, then the paste will paste in the center of the canvas.


If you want to copy a selection to a new layer, retaining the existing position for the copy, you may find Command/Ctrl+j a better shortcut. It copies, creates a new layer above, and pastes all in 1 step. The menu item for this is located at Layer > New > Layer via Copy.


data - Displaying selection based attributes in a table?


I have a table column, where data should be entered through a dropbox. Depending on selection an additional value should be asked.



What is the best way to display this value in the table?


enter image description here




fiction - Any Tips On Writing Extended Recollection In A Novel


So, I've been working for about a month now on my latest novel but have come across some issues in regards to recollections of past events.


I'll outline what I mean, because that's a bit general...


It's based around a psychiatrist and a patient discussing the patient's life.


The main problem I'm having is transitioning from long conversations between the patient and doctor, to the patient's recollections of the past events the doctor is asking about. I'd also like to including interjected dialogue and description from both of them.



Take the Alias Grace mini series for example. But, instead of being a visual medium, It'll be written down as a story.



Answer



That's tough, it sounds like a hundred page wall of dialogue to me.


To eliminate most of it, I'd resort to flashback. Flashbacks are not that popular anymore; but they would be better than an endless wall of dialogue or thoughts.


For flashback, write the recollection as a story, with a neutral narrator, third person omniscient limited, focused on the character.


For the psychiatrist, have them use a Guided Imagery Therapy, i.e. the psychiatrist is asking questions of the patient to tell the memory in story form, to remember the details of what was seen, felt, who was there, etc, not in a demanding way, but as if curious. You can begin with this, and after a hundred words or so, drop into the patient's flashback of the experience, which you tell as if it is currently happening, and then at the end pop out of the flashback into the psychiatrist's office.


Using this pattern the reader will see the conversation with the psychiatrist as prelude to a flashback. You can make a chapter out of each such flashback, the chapter begins and ends on the psychiatrist's couch. You could interleave these chapters with chapters about what is happening to the patient (or psychiatrist) in the present day, which may offer some parallelism with the flashbacks.


characters - How to describe skin colour, if "white" is not the point of reference?


A character looks at another character, skin colour creates certain associations. A character looks at himself, and associations would be shaped by society, and by what is "normal" in that society. What we refer to as "black", for example covers a huge range of brown shades, that would only be jumbled together as "black" where "white" is the "norm". "Brown" is an even more confusing category, that appears to be a catch-all for all the shades that are neither "black" nor "white". And all those distinctions are only half about actual colour, other half being things like ethnicity.


Now, I need to throw away all those weird cultural associations, and start from scratch. Both novels I am currently working on are set in the Middle East (or a fantasy version thereof), so the range of Middle-Eastern skin colours is the "norm".


I am narrating my stories in third-person, one limited, the other - omniscient. Culturally, my "narrator voice" is very much where my characters are.


Under those constraints, how do I describe my MCs' ("brown") skin colour? (Other characters can sort of follow from the MC's baseline and the MC's perception.) I have so far used "tanned", but that isn't right at all - it suggests that the character is naturally paler than they currently appear, which is not what I'm trying to describe. "Brown" doesn't really work either, for the reasons explained above, and also because it's not really descriptive - so many shades of brown. And it would be strange, I think, to describe my MCs' appearance in exotic terms, since they're supposed to be pretty much the norm.


(It might be that I'm having a blind spot, because this is what I look like. Since it's mine, it's just "skin" to me.)


This question is related, but its point of reference is different, and the accepted answer has a "Houston, we have a problem" in the exact colour range that I'm trying to describe. This one is about describing a "white" character in a "non-white" setting, while mine is about describing the average "non-white" character in the same setting.



EDIT: A valid concern has been raised, as to why I need to mention skin colour at all. Two reasons:



  1. Because if the characters were Caucasian, I would not have struggled to describe their skin colour, and I would have mentioned it in passing (one character being tanned from spending a lot of time outside, another having pale, almost translucent skin, etc.) so it's weird to avoid describing a different skin colour just because the frame of reference is not Caucasian.

  2. Because through the MC, I wish to set the norm for the society I'm describing. I also wish for the freedom within that norm: if I mention a character is pale, having spent most of their life indoors, I want this to be the pallor of a princess in Japanese legend, not the pallor of a redhead.



Answer



I like to equate skin tones with food or natural objects. Caramel, chocolate, cream, sand, etc. Eye and hair color work well this way too.


There are so many beautiful shades of skin it is a shame to leave it out of descriptions. White people tend to focus on hair and eyes and ignore skin aside from the very large divisions of black and brown and white (not that anyone's skin is truly black or white). Or they mention "tanned" which implies a change from the natural color due to leisure or work in the sun.


The Black community in particular has a rich history of naming different skins, and then depicting them in written or visual art. Many other ethnic groups have gorgeous descriptions. Reading how they do it should help fuel your ideas.


People notice if you leave it out. Maybe not white people (they'd notice if you never described hair color), but certainly people from the cultures you're writing about.



In addition to comparing people's colors to natural objects, you can compare them to each other.



"Her lover's skin was translucent against hers. Cream marked with the slightest tint of beet. Her own ebony seemed almost blue in the morning light."



Friday, September 22, 2017

usability - Social Login adoption vs Traditional Login


I have implemented janrain's social login on my website. I am wondering how important it is to include a traditional login (email/password) system.


I believe there may be a significant percentage of potential users that are either uncomfortable or unfamiliar with social login. These users may not sign up for my site if social login is the only option.


Does anyone know of any data comparing social login vs traditional login and the corresponding adoption rate?


Is there a current best practice? Do I need to give the user an option to sign up using username/password? Or is facebook/google/openID/twitter/MS/Yahoo enough?



Answer



The usual answer to this is: it depends. But what does it depend on you ask? Good question.



It depends on, firstly, how tightly integrated your application is into the social applications whose logins you are offering. If you need the functionality of say Facebook, then only offering Facebook integration is justified. Very often we would only like to have the data (e.g. name, avatar, age, etc.) and so forcing a Facebook login doesn't improve the experience for everyone.


Then, secondly, it depends on how likely your target audience is going to either not have a social account from one of the social apps which you are allowing logins from, and whether they are willing to use them. Many business people wont have a Facebook account, but they are very likely to have a LinkedIn account (depending on the country). Many people don't like using social logins and prefer traditional accounts for each application they sign up for.


If there isn't some good (UX) reason to leave out a traditional sign in, I would strongly urge you to include one. The onus is on you to decide if there is a good (UX) reason to leave one out or not.


symbolism - How would you represent "religion" in an icon, neutrally?


I am involved in a web application where items in a list have a category. Each category of an item is shown through the use of an expressive icon. One of the categories is religion.


My coworker, a graphic designer, is at a loss on how he would represent religion in a logo "neutrally". Some of the items may be associated with Christianity, Islam, Buddhism, etc. so a religion-specific icon would not work and may be potentially offensive.


So, is there a way we can represent it in a different way?



Answer



What about an icon depicting a set of praying hands?


Edit: It seems that Civilization 4 uses something similar: Check out the seventh icon in the row of icons in the top-right corner of this screenshot, below "PM".


enter image description here


inkscape - How to create these rotated clones?


I am a beginner in Inkscape. I want to create an image similar to Yury's diagram:


enter image description here


This is what I tried so far:


I created a circle, selected it and went to Edit > Clone > Create tiled clones.


I searched under "symmetry" but didn't find a rotation of 22.5 degrees (which is the rotation required to create the above image) - only 60 degrees.


I went to "Rotation" and set the "per row" rotation to 22.5 degrees, but only got a grid of 5-by-5 circles (probably each circle was rotated in place).


What should I do now?



Answer




The fastest way to obtain such an image is to translate the rotation center of the initial object and then proceed manually by duplicating and applying a transformation (rotation in this case) to the last duplicate.


For example, you can start with two circles, grouping them (Ctrl-G) and translating the rotation center (by selecting the group, clicking a second time and dragging the cross representing the rotation center - see here for further informations). In the example the big circumference is shown as reference:


Starting pattern and rotation center


Now, you can duplicate the group (Ctrl-D) and apply a rotation (22.5 ° in the example) using the Transform dialog:


Rotate the group


Repeat the operation: duplicate the last group with the left hand (it's already selected!) and click on "apply" with the mouse (the pointer is in the same position):


Repeat the operation


Repeat until it's done. A bit boring, but very fast:


End of the work


Alternatives are possible using symmetry (see Radial placement with Tile Clones tutorial), but you need to tweak a little to obtain this image.



Further examples are here and here.


Thursday, September 21, 2017

adobe illustrator - How is this type of grain/noise effect made?


I've spent the morning playing with noise in both illustrator and photoshop, blending layers and testing various grain textures - trying to get close to this type of superbly fine but crisp noise but it ain't working - the black noise in many places (see the teeth and lips) boggles me. Is anyone here that knows how this was done?


enter image description here https://imgur.com/nM1YRcJ




Answer



To copy the effect I made a snippet of the image. It has at left a slice of the original and the rest has been cleaned with noise reduction, actually median filtering a few times.


enter image description here


The cleaned version has an adjustment layer (with. full white layer mask) It's adjusted to darken the image as much as the grains do, but affecting to the colorfulness quite little (=straight line, nearly 45 degrees) It can be readjusted later if needed.


Then, the layer mask of the adjustment layer got grain:


enter image description here


The result after tweaking the curve a little and lifting a little the contrast of the cleaned image to compensate the darkness caused by the original grain (see, the histogram is a little stretched to the right):


enter image description here


Unfortunately the details of the cleaned image cannot be restored to same glossines than the original, noise reduction removed details, only compensating the darkness of the original grain was possible.


Wednesday, September 20, 2017

Is there an icon set of cartoonish faces?


Commercial or free. Something similar like these:


enter image description here


Dribble: 3D Face




enter image description here


Dribble: Face Proccess




enter image description here



Dribble: Face iOS Icon


I want to use them in a web site for unknown gravatars/avatars.



Answer



When in doubt, visit IconFinder.com -- here's one.
I particularly like the luchadores ...


enter image description here


adobe photoshop - How to get Layer size (Width and Height)?



I have a number of layers in a Photoshop document.


I want to find out what a specific layer's width and height is. How do I do that?



Answer



Option 1.


I have an action that does this:


Cmd+A, Cmd+C, Cmd+N


When I run this action I'm left with New document window. The width and height in the window are the clipboard image dimensions = your objects/layers dimensions.


You then can press Esc to close the window.


( On windows just think of the Cmd as Ctrl )





Option 2.


You can make a selection of the layer for example by ctrl or cmd clicking the layer thumbnail and then looking at the info panel F8, it will show you the dimensions of the selection.


enter image description here


From the upper right corner where you can see the arrow pointing down, you can find the options and within there you can set the ruler unit to pixels or what ever you want it to show.




Option 3.


Use Free transform Ctrl+T and when free transform is active, go check the Info panel F8 as shown above. This works even if the object is outside the document area.




Here's another answer that is slightly related: How to measure the distances in .psd


Especially the bottom part of the answer that lists methods to exporting layer styles as css, which includes width and height, of course.



InDesign CS5: Placeholder for "number of pages in a document"?


Much as I loathe Microsquish's Word, it does allow you to insert into a header or footer the automated text "Page X of Y."


When using InDesign, it's easy to set up the "Page X" part on a master page. But is there any placeholder character for the Y? That is, it will count the number of pages in the document, either in an absolute or a relative-to-the-section fashion? Every now and again I narrowly miss sending out something with a footer which reads "Page 4 of 3," and I would love to know if there's some way around that.



Answer



If you go to Type > Text variables > Insert variable, you will find "Last page Number", which should work (but maybe not if you're organizing multiple files in an Indesign Book, I don't know).


technical writing - What language should I write my programming blog post in?



My background


I'm a native French speaker and a software engineer, I studied in French and grew up speaking French.



My Question is: which language should I use for my technical blog posts?


On one hand, French could be easier for me to write in. It can allow me to make a difference by transferring knowledge from English to the French speaker for my country.


Cons: much less audience and I always think that the beauty of computer science or technology can only be viewed in English.


On the other hand English:


It's a bit harder for me to write a blog in (I have written 2 blogs in 6 months) and I'm afraid that not mastering the language could hold me back many times.
But with English, I could target much larger audience and improve my writing skills.


What language should I write my programming blog post in?



Answer



Which language do the French use when they search programming related information on the web?


My mother tongue is German, but when I search information on the web on topics that aren't specific to my country (such as German law or German movies) I invariably search in English, expecting to find more and better information. This is especially true for questions relating to science and engineering, where the common language is English.



The French seem to use English on the internet just as much as the German. For example, there are about as many visits to Stack Overflow per thousand inhabitants from France (19) as there are from Germany (24).


So which language will help your blog to get found?




Who is your audience?


Do you write for professional or aspiring professional programmers? They all know English.


Or do you write for beginners or amateurs, explaining basics to non-experts, introducing younger teens or older adults to software-related issues? They all prefer French.




What do you want most from your blog?


Do you want to network within the French developer community? Do you want the largest possible audience? Do you want to learn English, because you want to work for an international company, or do you want to enhance your writing skills in French, because you want to earn money as a writer for French publications?


Make a list of your blog-related goals and order them by long-term relevance. See how each goal can be better achieved by writing in English versus French.





Can you write in English?


Well, sure you can write in English, but can you write well enough that mistakes you make don't put off readers?


English might have a larger audience, but English also has a larger number of competitors, many of which write elegantly in their mother tongue. How do you feel yourself about blogs written in broken English by some Russian or Chinese blogger? Do linguistic mistakes grate on you?


How quickly do you expect to become fluent enough in your English so writing in English doesn't take much more time than writing in French?


Tuesday, September 19, 2017

How do you explain the volatility smile in the Black-Scholes framework?


Does anyone have an explanation for the currently naturally forming volatility smile (and the variations) in the market?




adobe indesign - Script to always save IDML with INDD



Is there an existing script for InDesign that will save an INDD file and an IDML copy at the same time?


I work with dozens of independent designers on collaborative projects, and those of us with Creative Cloud have to remember to save an IDML copy for those on earlier versions. And we often forget.


I'm hoping to find or tweak a script that will, for instance, add a menu item called, say, 'Save with IDML', and will save both the current document and an IDML copy alongside it.



Answer



This example should get you started. You need to run the script once per InDesign session. You could add it as a startup script for example. It will save everytime the user saves the document a idml file.


#targetengine "session"
// we need a targetegine to make this work
var doc = app.activeDocument; // get the current doc

// now to the event listener

app.addEventListener('afterSave', function(theEvent) {
$.writeln('saving'); // just to see whats going on
if (!doc.saved) {
// catch those possible mistakes
alert('doc was never saved');
exit();
}
var aName = doc.name; // get the name
var newName = aName.replace("indd", "idml"); // replace the indd to idml
// crate a new File Object next to the indd

var theFile = File(File(doc.filePath).fsName + "/" + newName);
// export
doc.exportFile(ExportFormat.INDESIGN_MARKUP, theFile, false);
});

If you want this as a menu command you could take look into this blog post on indiscripts.


style - Should structuring an academic text with the help of questions be avoided?


In an academic writing course some years ago I remember being told that when writing, for instance, a journal article in English, one should usually avoid structuring one's text with the help of explicit questions, something like:




In the previous section we saw that the values of X are particularly high when considering Y, suggesting that... Blablaa. Bla. Could this be interpreted as a result of Z?


And then I go on and answer my own question.



Or something like:



X's statement does seem credible in light of Y. This interpretation, however, poses another question: Why is it the case that Z, if ...?


And here I start to build the answer



Are there actually some stylistic guidelines that would recommend avoiding these kinds of structures? Does anyone know about a resource where something like this would be mentioned?




Answer



Speaking as a professor and author of several academic papers; I would avoid it.


Rhetorical questions are a technique we use in classrooms to generate interest or debate among students. That is a form of "entertainment" and entertainment is NOT the goal of a paper, it is reporting your research and conclusions, and you should not present any ambiguous or "teaser" lines in the process.


The reader cannot answer questions. You are not writing a mystery novel! This may seem "dry" but that is what is expected. To rewrite your text:



In the previous section we saw that the values of X are particularly high when considering Y, suggesting [a,b,c]. We will now show this behavior can be interpreted as a result of [d].


Thus X's statement does seem credible in light of Y. To complete the argument, we must show that [e] holds, to justify why [f] holds.



In other words, it is fine to tell the reader in a 'summary line' what you are about to more formally prove or argue. Typically you can reword your questions to provide a summary statement of what is to come instead of the question, which is really the point of the question.


I certainly would not put a ban on all rhetorical questions in academic papers, but for students I would not allow them at all. Learn to write without them; stick to the facts and presenting your work, keep emotional appeal out of it. That is what is expected; at least in my scientific fields.



In other fields where I have read few academic papers (e.g. psychology or history or law) I could be swayed if shown several other highly quoted recently published papers (e.g. in the last 20 years) that make heavy use of rhetorical questions.


But still, IMO you can avoid them and make a stronger paper. A rhetorical question is always an introduction to a discussion that can be rewritten to serve better as a summary statement imparting a fact about what comes next, and typically the statement will be shorter anyway.


Monday, September 18, 2017

adobe photoshop - Export Layers to Files exports only 4 png files from 100 layers


I am trying to export my layers to png files.



Googling suggests that FileScriptExport Layers to Files… is suitable.


However, this takes ages to complete and for some reason it exports only 4 images out of 100 layers.


Why?




publishing - Using a fake name for book




So I want to use a fake name for my book, not my real name. How do I ensure that editors or agencies don't take advantage of that or play a trick when it comes to the credits of the book? How do I make sure that there are no 'loop holes'?




A font that's readable with a 5px height



For use in Photoshop, I'm looking for a font that's exactly 5 px high but still readable. I tried some system fonts myself like Arial, Tahoma, Segoe UI but it all results in a pixely mess.


enter image description here


Ideally the font will use their space optimally and make words like 'ISDN' readable like this: enter image description here


This specifically needs to be 5px. So Which typeface is suitable for marking of wires? doesn't answer my question



Answer



If the 5x5 pixel font suggested by Cai and mayersdesign is still too large, you could try the 4x5 pixel font I made a few years ago for a challenge on another SE site.


The original version included only the letters A to Z and the . and ! characters, but I just made an actual TTF version of the font (using an online tile-based font editor) that includes all printable ASCII characters. (No accented letters or fancy non-ASCII punctuation yet, though, and the lowercase letters are identical to the uppercase.)


In fact, I made two versions: one with variable letter spacing, and one that's monospace. Here's what they look like (at 200% size):


CG pixel 4x5 font
(direct download)



CG pixel 4x5 mono font
(direct download)


I haven't tested these fonts in Photoshop, but they do work just fine in GIMP: just set the font size to (a multiple of) 5px, and line spacing to 1px or more.


Also, I've released these fonts into the public domain (via CC-Zero), so you can do whatever you want with them. In particular, if you don't like some of the design choices I made (like the slashed zero, or the serifless capital I) or just want to add more glyphs, you're free to clone the font and edit it yourself to suit your needs; the online editor is pretty easy to use.




Ps. I went and made a couple of even smaller variants of this font:


CG pixel 3x5 font
(direct download)


CG pixel 3x5 mono font
(direct download)



At 3x5 pixels, this is about as small as a pixel font can get and still remain legible. It also, not entirely coincidentally, looks very similar to just about every other 3x5 pixel font out there.


Even at this size, some of the glyphs (especially the more complex punctuation symbols like &, @, # and *) suffer a bit, and some creative solutions (like the minuscule-style N) are necessary to keep all the shapes distinct. Still, it's more or less readable, even if some of the letters may be ambiguous if used on their own without context (such as the M, which could be mistaken for an N or an H).


Of course, you're also free to tweak this font any way you like, or even to design your own.


statistics - How can I quantitatively test the validity of momentum indicators?



I am learning about quantitative finance, and I am struck by how different it is from the techniques that make it into magazines and TV, particularly technical analysis. Specifically, if they say an indicator (RSI, TRIX, etc.) can predict even short term future prices, then you should be able to run some analysis to see if this was at least true in the past.


So my questions are:


If I wanted to learn the statistics used to calculate if there is any correlation between an indicator and any future price tendencies, what methods do I use?


Are any of these indicators known to have been verified quantitatively?



Answer



Remember that there is almost no point in predicting market movements if you cannot use it to trade and generate P&L. Thus, backtesting a stat arb strategy based on the indicator is best option.


Don't let yourself fooled by correlation or even directional forecast percentage accuracy as a few wrong predictions can blow your capital.




  • You will need a set of entry and exit rules in addition to your indicator. (enter when indicator 1 is crosses 0.5 from below etc)





  • Don't forget to account for all types of transaction fees you will have to pay.




If it's purely academic research you are doing then what I just said is of course not true.


citations - Typo correction when citing an external source


Good evening,


I'm in the process of writing a small research paper for my college and im facing the following dilemma.


One of my sources has a typo. More specifically instead of the word "Christians" the author wrote "christians" (lowercase C) which is wrong. Should i correct it or should i leave it as is?


I know that this is a minor mistake but in the future i will probably come across many other typos like this one and i would like to know.


PS. Im using MLA 8.


Thanks in advance.



Answer




The usual convention is to quote the source as is but add "(sic)" after the incorrect word to indicate that the error is in the source and is not a transcription error.



christians (sic)



color - Is there any low cost way to Calibrate my display?


I'm using Apple cinema display model number A1316 27 inches. I think it is from 2010.


I'm making User Interface for mobile app and we also plan to make some marketing collateral (some printed brochurse and packaging etc.)


Should I calibrate my cinema display (it has never been calibrate before)? if I should, should I use X-Rite ColorMunki Display (http://www.xrite.com/colormunki-display) or I should go for X-Rite i1 (https://www.xrite.com/i1solutions-color-management). I do not have much money will X-rite ColorMunki Display be sufficient enough for my work?


Or is there other brand or product that is better and cheaper than these product?


is the spectracal brand also suitable for my work which model? The Datacolor S5X100 Spyder5EXPRESS also interesting. Which one to choose?



Answer



Yes you should calibrate, always.



As for what calibration hardware to use, that's largely a matter of preferences. But any calibration hardware is better than none. You really can't go terribly wrong with any of them.


I use the Xrite i1, but that's just my preference.


technique - How credible is wikipedia?

I understand that this question relates more to wikipedia than it does writing but... If I was going to use wikipedia for a source for a res...