JDW

you might have to scroll down, Miscellaneous is the very last menu-point, that might be not visible if your screen-resolution is on the lower side. If that's the case drag the whole Preferences-Window to the top, as high as you can and then open the drop-down-menu again. You find it? I'd really like you to find it
 

You are not there yet. Where it says "Affinity Photo", right bellow "Photo", that's a second drop-down menu. You have to set it to "Miscellaneous".

Matt, as you can see, I posted that question back in July 2015 and no one gave me the courtesy of a reply.
I am enthusiastic about the Affinity apps, which is why I bought both of them.  But I must say I don't use them very much because of unanswered questions and unimplemented features that I deem important.  I even bought both of their books!  I would be overjoyed if things could change though, not only for my own personal benefit, but for the benefit of every Affinity app user worldwide.
Don't let this hold you back from asking questions in this forum though.  Serif needs a pounding (a cordial and intelligent pounding, of course) to get the ball rolling in the right direction.  If they want to capture more customers from Adobe the solution really is simple.  All they have to do is start answering questions from Adobe users and implementing their feature requests.  And I'm of the strong opinion that it shouldn't take 3 or more years to do that.
Best wishes!

Same question here. How do I quickly revert to the default black & white colours like I can in Photoshop?

Since no one knows what the difference is between Lanczos 3 "separable" and "non-separable" may I suggest that Serif put something more meaningful and descriptive into those parenthesis instead?
 
In my testing, Lanczos 3 (separable) enlargements and reductions a tad sharper than Bicubic, and Lanczos 3 (non-separable) is much sharper.
 
So I would think the Resample popup should read as follows:
Nearest Neighbor Bilinear Bicubic Lanczos 3 (sharp) Lanczos 3 (sharper) Because, quite honestly, "separable" and "non-separable" may appeal to the left-brainers, but isn't Affinity Photo appealing to our right-brain creative side?  Yes.  So make the descriptions more understandable, please!

3 years later and still no angle to gradient in any obvious form.  Is it really that hard?  I can do this in InkScape no problem.

Try this:
 
1. New document.
2. Click once on the Rectangle Tool (or type "M")
3. Click the square to the right of "Fill:" in the upper left corner of the window.
4. Click on the "Gradient" tab.
5. Note there is no field to set the ANGLE.  Please add that.
 
Why?  Because Illustrator has one and for good reason.
 
Yes, you can set the angle by going outside the Gradient panel, choosing the gradient tool and then manually doing it.  But if one is already working inside the Gradient tab (especially for matters of precision), it is only logical that an ANGLE setting should be in there too.
 
Thanks!

MRP, don't hold your breath.  Even my amazingly persuasive "PRETTY PLEASE" trick hasn't budged Serif on this important feature. The implementation delay on this is terribly unfortunate.

Some great updates have come out for the Affinity apps but mysteriously the excellent suggestions in this thread go unheeded.  So please allow me to try a new technique on Serif that's sure to get our request in the NEXT update...
 
PRETTY PLEASE?  :wub: 

Since no one knows what the difference is between Lanczos 3 "separable" and "non-separable" may I suggest that Serif put something more meaningful and descriptive into those parenthesis instead?
 
In my testing, Lanczos 3 (separable) enlargements and reductions a tad sharper than Bicubic, and Lanczos 3 (non-separable) is much sharper.
 
So I would think the Resample popup should read as follows:
Nearest Neighbor Bilinear Bicubic Lanczos 3 (sharp) Lanczos 3 (sharper) Because, quite honestly, "separable" and "non-separable" may appeal to the left-brainers, but isn't Affinity Photo appealing to our right-brain creative side?  Yes.  So make the descriptions more understandable, please!

I'm glad we agree, and thank you for the screenshot. There's much power in using OS X's Terminal too to accomplish various tasks in OS X, but arguably, it is a less intuitive and sometimes a slower approach that using the GUI. In like manner, fiddling with curves in AP only to eliminate text anti-aliasing is ridiculous.
 
Serif, please add a text anti-aliasing pop up to AP at the earliest possible time. Thanks.

Oh my!  Thank you for the tip.  Very power curves indeed.  I wouldn't want to spend hours trying to exactly recreate Photoshop's "Smooth, Crisp, etc" settings, but I do see that the Coverage Map curve gives me power to strip all anti-aliasing away completely, simply by pulling the curve to one of the far corners (making it 90° rather than a curve).
 
Thanks.

When typing text in a Photoshop document, there is a popup available that displays the following anti-aliasing options:
None Sharp Crisp Strong Smooth The addition of these would make Affinity Photo's type handling even more powerful.
 
Thanks.

Thanks to MikeW.  Montax Imposer could be downloaded from this link.  Both Plugin and Stand alone versions are available.  This is a basic facility for any graphics or designing software. We require that in Affinity products as in-build.

Do this:
 
1. Launch AP.
2. New document.
3. Choose the Paint Brush and a color.
4. >> Note it says: "The assistant has added a new raster layer"
5. Close without saving.
6. New document.
7. Choose the Flood Fill tool (paint bucket) and a color.
8. Click on the page.
9. >> NOTHING HAPPENS.
 
It does not make logical sense to me why the Assistant would assist me in auto creating a pixel layer for the Paint Brush tool but refuse to create a pixel layer when I click the Flood Fill tool on the canvas.  Can someone explain the logic to me?  If there is no sound logic behind it, I am inclined to submit a new feature request.
 
(Keep in mind I am comparing my experience to Photoshop, where I don't need an assistant to create a paintable layer because a paintable layer appears automatically in Photoshop.)
 
Thanks.

Agreed

Since no one knows what the difference is between Lanczos 3 "separable" and "non-separable" may I suggest that Serif put something more meaningful and descriptive into those parenthesis instead?
 
In my testing, Lanczos 3 (separable) enlargements and reductions a tad sharper than Bicubic, and Lanczos 3 (non-separable) is much sharper.
 
So I would think the Resample popup should read as follows:
Nearest Neighbor Bilinear Bicubic Lanczos 3 (sharp) Lanczos 3 (sharper) Because, quite honestly, "separable" and "non-separable" may appeal to the left-brainers, but isn't Affinity Photo appealing to our right-brain creative side?  Yes.  So make the descriptions more understandable, please!

When typing text in a Photoshop document, there is a popup available that displays the following anti-aliasing options:
None Sharp Crisp Strong Smooth The addition of these would make Affinity Photo's type handling even more powerful.
 
Thanks.

Hi JDW,
You can apply the Inpainting non-destructively to a new layer rather than changing the original, making it easy to clone back details/retouch parts that may look wrong. To do this you have to create a new pixel layer above the original image and change the Inpainting Brush Tool source setting in the context toolbar to Current Layer & Below. The "inpainted" data will be placed in the new pixel layer. This applies both to the macOS and iOS versions.

There's a Clone Brush Tool in the iPad version (see screenshot below).
 

 
 

Hi JDW,
I was just welcoming and addressing RanzQ comment/post regarding the ability to smooth lines "on the go" thus the suggestion to try the new Beta. I was not implying that line stabilization was the solution to this thread's subject/request. I'm aware that those are different things. Sorry if it sounded like so.

May I butt in? I work in a printing company and uses a lot of cropping marks. I guess the best crop mark generator is the script in Adobe InDesign because I can change crop marks setting...though it cannot save.
 
The only workaround I find in AD is exporting it to PDF with added bleeds ( I like the 'rasterize everything' setting) then import it to InDesign, preserve the original size, transform/duplicate then use InDesign's cropmark script...show the bleeds, now it's ready for printing.
 
I wish to have that feature in AD.

I've had similar issues working with artboards and exporting as PDF.
It is incredibly slow. I have 21 artboards each holding a single image. When I print it, regardless of how low the resolution, it is way too slow on my laptop. Then I try using 3 artboards at a time, each with a single image inside, and when I export as PDF, the same thing happens – takes forever. Whenever I use more than one artboard, exporting as PDF becomes a torture, which should be the easiest thing to do. Programs like Preview do it automatically. Affinity Designer does very well quality-wise, but takes too long. I wonder how I can use so many artboards at once without slowing it down, but as soon as I export anything in PDF, not only it takes forever, as it does not give me a proper visual of the progress for rendering the PDF. It just stays there without moving. Also, as in this thread, calculating file sizes is so slow that I rarely ever wait for it, and you can start exporting before that number comes up. If the program is exporting the file in the background just to figure this number out, that might explain why everything becomes so slow – why not just give a ball park figure instead of having to mock export the file on the background just to display a number? It seems like an awful waste of processing power... In any case, I love this program, and I would never go Adobe, as I find them unethical – period – charging yearly subscriptions for their software is just wrong and it should be illegal. So, Affinity is the way to go – I hope you surpass Adobe soon! And I hope also that some of these issues can be solved, as these Affinity applications are absolutely the best I've ever worked with, all things considered. Yet, I would be doing my work 20x faster if the export features were more efficient. Thank you!

Hello,
 I now worked way over 200 hours with AD, great Tool for UI Design. But one thing that really could be improved is the font rendering, especially for UI Design. Most of my Designs are for WPF Applications. It would be really great if the developers would improve the rendering. The fonts in AD just look very blury. I really would wish some presets. The "Curve-Tool" is in my opinion useless, I was not able to get any satisfying results.
 
See the attachment with the comparison of WPF Rendering, Photoshop and Affinity Designer.
 
Best regards
Nod
 
 
 
 

When typing text in a Photoshop document, there is a popup available that displays the following anti-aliasing options:
None Sharp Crisp Strong Smooth The addition of these would make Affinity Photo's type handling even more powerful.
 
Thanks.