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  1. Thanks, @joe_l. Hm, turning off hardware acceleration and switching to WARP-Rendering doesn't change this behavior on my PC. ­čĄö
  2. Hi @stokerg, thanks for responding. Here's a recording I took. I hope it understandable what I do. I just use Shortcuts to switch the tools and do deselect.
  3. Not here. It is placed in a different place each time. It would still be understandable if the pivot for a new selection was set comparable to the positioning for the previous selection (i.e. relative to the selection position). Or if it would stay where it was placed for the selection before. But this is not the case for me.
  4. 1. Make a lasso selection on a pixel layer in Affinity Photo (or Photo Persona in Affinty Publisher) 2.Switch to move tool (topmost black arrow tool) and turn on "show transformation pivot" in options bar 3. Move the pivot (blue crosshair in circle) to some place other than the center of the selection 4. Adjust the transformation and switch to lasso tool to do a different selection somewhere else 5. Switch to move tool again with activated "show transformation pivot" 6. The pivot is now hard to find. It jumped (randomly, as it seems) somewhere outside the selection. It can be detected by rotating the selection with the move tool and looking for the rotation center. In Publisher it sometimes even jumps to another page. A "reset pivot to center" option doesn't seem to exist. Thus there's no other way than searching for the pivot each time after it has been moved from the selection center for an earlier selection. It would be much better to reset the pivot to the selection center each time a new selection was made. (Affintiy Photo Windows)
  5. I would add here, that the icons of the iPad apps are much too dark. In some ligth conditions it's almoust impossible to identify them correctly. Arggh,... as much as I am happy with the Affintiy apps, as often I think: "WTF, why?" or "Really? This feature doesn't exist?" As you mentioned, its 7+ years now, since the launch of AD, and we are almost at the same level of evolution of the apps. The Affinty apps still feed off their original innovations: the combination of pixels and vector graphics, deeply nestable clip masks, and the use of a single file format across all three apps and no subscription. The rest is more or less stuff that all competitors also offer, often less mature in Affinty. Luck for Serif, that Adobe isn't doing all things right as well. If Illustrator would get a subset of Tools and Pixelbrushes from Photoshop, or Photoshop would get more advanced vector tools, this would mean a big problem for Affinty.
  6. Ah, thanks Walt! I was using the pixel persona in AD. Now I imported my brush pack into AP, linked them to the certain tools and importet the pack again in AD. Works fine now. Thanks again. I have to say that the allocation of some functions to certain apps, although they would be useful in all apps, is not always well done and reasonable. For example, I also miss the ability to create linked layers in AD. The fact that you have to switch to AP first every time is quite annoying. Likewise with the linking of the brushes. This small popup would definitely have had room in the dialog in AD.
  7. Hi, in some brushpacks I bought some brushes are bind or linked to certain tools, so that the brush, the eraser or the blend tool are automatically activated when a brush is selected from the brush palette. How can I achieve this with my custom brushes? For now I couldn't find a way to link between my custom brushes and the tools. Thanks for advice.
  8. @JQL In some cases in may help to use artboards for this. You can arrange the different states of your images on different artboards, and give the artboards matching names. Elements that are repeated and used on every artbord can be arranged as symbols in Designer, so that changes on one artboard changes them on all other ones. At least for a project with gamecards this worked quite well for me. It's not the same as using layer compositions and exporting them as files. On the other hand, you can see all you variations at a glance, without switching through all composition states.
  9. You can use symbols to simulate some kind of isolation mode. I know it's a workaround and not really a replacement for a real isolation mode, but it works quite well. At least provided that the necessary work on the isolated elements justifies the extra steps. To do this, you can turn the group you want to isolate into a symbol and place a second copy of that symbol in a suitable location (e.g. a second artboard). Make your adjustments to this copy and the corresponding group in your artboard will be changed accordingly. You can then detach the group in your artboard from the symbol again and delete the copy and the symbol itself (in the Symbol Palette). I know these are extra steps, but it can be worth it.
  10. That's right. But I suppose, many Affinty users would use it for this case and not for commercial use. Otherwise, the license costs for XnViewMP are very moderate. Any commercial user should be able to purchase a license at this cost.
  11. XnView MP is also free and can handle Affinity files well, including previews - as well as Photoshop and Illustrator files. In my eyes there's no need for Adobe Bridge.
  12. Everybody here knows about what we have with the Affintiy Suite and what we don't have yet. It's obvious, that despite having many good tools and workflows, the Affintiy apps are still missing essential features. Since Serif seems to see their app-store as an important part of the overall concept behind the Affinity Suite, at least regarding the focus it got in the recent updates (instead of upcomming missing features), I would suggest opening the entire Suite for expanding it by 3rd party Add-ons, as with blender for example. These add-ons could be sold through the App-Store and could target those missing features like distortions, simplifying paths etc. The users who need these could buy them, the users who don't, could save the money. I think, this would give the Affintiy Suite a big boost and would create a Win-Win-Win situation for all: Serif would make money without having to spend it into developing the missing functions, the developers of the Add-ons would make money and the users would finally get the long awaited functionality. In the end this could bring the Affintiy Apps much more ahead.
  13. Zu Bedenken ist hierbei allerdings, dass das Update der Corel-Software auch tats├Ąchlich existiert. Die n├Ąchsten 3 Affinity Hauptversionen, werden nach aktuellem Entwicklungstempo jeweils mindestens 7 weitere Jahre auf sich warten lassen. Affintiy 4.0 kannst du also fr├╝hestens f├╝r 2035 erwarten, sofern 2.0 morgen erscheinen w├╝rde! Mindestens. Denn auch im n├Ąchsten Jahr wird uns bestimmt kein Affinity 2.0 kredenzt werden. Und schon gar nicht mit den vielen seit Jahren sehns├╝chtig erwarteten Funktionen. Da zahlt man vielleicht doch lieber mehr Geld f├╝r etwas, das man auch nutzen kann. Ich habe eher die Berf├╝rchtung, dass die aktuellen Beta-Versionen mit fast ausschlie├člichen Fixes, genau den Stand wiedergeben, auf dem sich die Affintiy Software befindet, und das es dar├╝ber hinaus keine Arbeit an Dingen wie perspektivische oder H├╝llenverzerrung, Pfadvereinfachung, Vektorpinseln, Isolationsmodus usw. im Hintergrund gibt. Das ist auch bei den Preisen, die Serif abruft, kaum zu bewerkstelligen. Eine Software f├╝r professionelle (= beruflich t├Ątige) Grafikdesigner, Fotografen und Illustratoren muss nun einmal wegen der Arbeit, die da drin steckt, einen ordentlichen Preis haben. Aber bei dieser Diskussion drehen wir uns hier schon zum Erm├╝den im Kreis.
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