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  1. Welcome to the club! 😉 This wish has become a mantra. Let's hope it doesn't become a meme.
  2. @PaRunk All nice and right what you're saying. But in the end the question for people who use the software to do their work and to generate income is: does it have the functions I need to do the job? At first, can it do the job at all, and second can it do it with the least amount of afford and the less time that's possible. And as sad as it is, I have to say that the Affintiy Suite is not the tool at the moment. It is allways claimed that it's hard work to develop such software. Of course it is, no doubt! But if you look around, there are some softwares that are also created by smaller teams and that develop much faster. For me the most impressive example are the two guys behind Photoline. But take Vector Styler for another example, or Vectornator. And after all, there has been the knowledge at Serif to implement the features. They were mostly there in Draw Plus! and the other Serif softwares. Thus it's not the point that they have to invent the wheel another time. And last but not least, not all concepts and software techniques behind the features are intellectual property of individual companies and thus inaccessible. Many things are just mathematics, many are published as white papers or part of open source libraries. And many features that are missing in the Affintiy softwares are just small extensions to the existing ones (just make solo mode permanent, for example. Just don't leave it by clicking somewhere on the canvas). And finaly, there's the point that we live in the year 2021. There are softwares that have evolved over decades and set the standards today. If you come into the market today (or better 7 years ago) and claim to have a professional software, you have measure yourself against the existing standards of professional software. You can just as easily not enter the car market today and say, "Hey, our car now has a gasoline engine and even manual transmission!" I'm afraid Affinity has found its niche in the semi-pro market, both in terms of features and price. And at least for me, it's not the costs that count. I would happily pay more, really more, if the Affinity softwares would be pushed to a real professional level.
  3. My +1, too. As much as I appreciate Walt's advice, this is not about doing something maybe once or twice. For a hobby designer, it may not be a problem to turn a layer on or off once in a while. In professional life, you have to do some things hundreds of times a day. And there it is extremely time-saving and prevents a lot of trouble if you only have to define certain settings once and the software then reliably implements them the hundredth time. Time is money!
  4. You're right! Hm, maybe it's hand-crafted after distorting in Affintiy Photo? (Or by using an different software 🤨? Just guessing...)
  5. I would add the ability to bind layer visibility to slices. Something like the layer compositions in Photoshop. So that you can select which layers are visible for a special slice. For another slice that covers the same area there could be other layers visible. This way it would be easy to export alternative versions of a design without having to place the alternative designs as copies on other artboards or in differents files. And snapping could be improved, too. Slices should snap to object bounds. At the moment it's quite complicate to make a slice that's the exact size of two objects if these two objects are in different groups or layers or not grouped at all.
  6. Sorry, but I have to vehemently disagree here. Affintiy's way of clipping layers by nesting them is so much more flexible and powerfull than in Photoshop. In Affinity's programs you can clip a shape by another shape, that's clipped by another shape, that's.... you get the point. This is really helpful when you need to be as flexible with your design as you can, especially when you work for clients. Clients do always want to change things, even when the artwork is actually finished. By using clipping hierarchies you can avoid destructive decissions when building up a design or illustration. Photoshop on the other hand can handle only one clipping step. If you want to clip the clipping layer you have to construct nested layer groups with layer masks. A lot of burdon compared to Affintiy. I think, Affinity's clipping concept is one of their strongest assets together with the mixture of vector and pixel layers. I don't know any software that can handle it this easy, either Photoshop, nor Illustrator, Clip Studio, Krita or Photoline. Your second point is valid, I think. It would be nice to invert a vector selection in the Affintiy programs, too, similary to inverting a pixel selection. Thus, select all objects that were unselected and deselect all objects that were selected.
  7. Well, that's up to you and your workflow. You can do it this way or not 🤷‍♂️. Apart from this, there are many things that have to improve strongly in the Affinty Suite. But that's a well known mantra.
  8. I consend that the blue indicator line could be visible much clearer and the transparent "ghost-layer" (moving with the cursor while dragging) is rather obstuctive than helpful. And in subgroups the difference between the indicator line lenghts is really too small. That said, I think it's not a bad handling at all. It's just the visual feedback that's problematic. BTW, you can use the three icons in the top right corner to place a layer instead of dragging it. Needs some more clicks and keys (CTRL-C, select layer where the cut one is to be placed under/over/inside in layers palette, press appropriate button top right, CTRL-V) but works also.
  9. I suppose Walt is talking about the width of the blue highlight. Highlight with full width of the layers palette means, that the dragged layer is placed beneath the layer above the highlight. Highlight with cropped width means that the dragged layer is placed inside (as a child/sublayer) of the layer above the highlight. Vertical highlight right from a layers thumbnail means that the dragged layer becomes a layermask of this layer.
  10. Well, I think there's more to come before Affinity becomes #1. I wouldn't put "animation" first here. There are many more important "building sites" for AD to become a full featured vector software. Vector Eraser is one of them.
  11. To be clear: the contour tool in 1.9 beta is NO solution for offset path (can't adjust the mitre, for example). I get even better and more flexible results by using mulitple strokes and using "Expand stroke". Interestingly, this method gives very similar results concerning the resulting vector points. So the algorithm behind it seems to be the same. The great advantage of offset path in Illustrator is, that it's a kind of effect that can be assigned to one specific stroke of a shape. So you can keep the original shape plus one or more offset paths. Changing the shape changes all offset paths instantly. As far as I can see, with the new contour tool you can just shift the contour of a shape. No multiple contours, no keeping of the original shape.
  12. I have to correct myself. I just found out that Photoline can do this. When you select multiple anchorpoints you can drag one handle and move the corresponding handles of the other points synchronized. Fascinating 🖖.
  13. Perhaps I dont understand correctly what you are after, but if you want to control the radius of the 4 corners of a square (for example), you can use the corner tool. Select all 4 corners and enter a value for the radius in the context bar to adjust them all together. As long as you don't convert the shape to curves again, you can always come back and adjust the corner radius again. If you want to manipulate 4 points of a vectorshape at the same time by dragging the handle of one of them and move the others synchronized, I think that's something none vector program is capable of. Adjusting 4 corners identically is always fiddly. Therefore using a corner tool to round them is almost always the better way.
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