JimmyJack
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Posts
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Everything posted by JimmyJack
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Hi Isabel, If you're looking for a snapping option that does this by design I don't believe it exists at this point. So let's start up the workaround engine....maybe that's what you were looking for in the first place. With snapping "bounding box midpoints" checked add a point at the center of the object you want to move. Since points can't exist on their own in Affinity, place a second point anywhere. Now you have an extra little line with one end at the center point. With "snap to object geometry" checked, use the node tool to grab all the points of your object AND the new line. That middle point (any point really) should snap anywhere on the target object. Delete the little line.
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It might also suit your needs to use the Halftone filter (under Filters > Colors ) on a filled shape (or rasterized fill layer). Rasterize that to mask.
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Filling problem
JimmyJack replied to Karasuman's topic in Pre-V2 Archive of Affinity on Desktop Questions (macOS and Windows)
This is a known issue (in both apps) of the fill color bleeding past a stroke set to inside. Welcome to Affinity. -
abject39 I can confirm that this IS happening, but it's not a bug.... and it's really hard (if not impossible) to see on a white or checkerboard background. So I changed Preview's background to black and get the same as you. It's happening because there are two "Highlights" layers in each of those artboards introducing fading white (70%-0%) to the color. Also, just as an aside..... on the two lower examples the color blocks' transparency fade midpoints are set to 100 and all the elements, except the text of course, extend way way beyond the artboards (possibly necessary for the highlights, but the color?) . Maybe it's all by design... just pointing it out if not. cheers
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The white line is from having your stroke(s) aligned to the inside. The white fill color is bleeding out past the edge. It's an ongoing (and known) issue with AD/AP. Try a stroke aligned to the center (you will most likely need to bump up the Mitre value to get a nice point on the acute angles). As far as the erase bits go... you can use boolean subtract to remove those areas physically. But that's even more work. If you stay with the erase blend method, you don't need to expand stroke first. Which will at least keep them more easily editable as single vectors while working... albeit not on export.
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For some reason rotating seems to compromise pixel alignment.... even with force pixel alignment etc checked. Rasterize your Eyes Right layer and you should be fine.
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jer, if I understand.... Try grouping all of the above/multiply layers. Give the Group a blending mode of Normal (instead of Passthrough).
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The way I saw the initial image was... how to wrestle a tweaked circle back into a circle. So I started with..... wait for it...... a circle. Points are exactly where they need to be. Yeah, that's what I said. Several times. Different problem. Hence my initial question.
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It's a very specific blob. That's why I mentioned it it the first place. It's a distorted circle. Changing to sharp nodes produces a square (at 45ª). Corner tool brings it back to a circle. I used the on canvas controls... and pushed it past the intersecting point. (in reality, if the corners are baked, that will leave pairs of points on top of each other. But that's part of the whole pen/node tool reboot I hope to see in the future)
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Blob to Circle (that particular blob that is): 1) Select all nodes and convert to sharp. 2) use corner tool to reconstitute the circle (all nodes at once)
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What is/was the actual question here? Was it to reconstitute the original blobbish shape back into a "regular" circle? Or For any irregular blob, how does one change all handle to be both: aligned to an axis and equal length?..... which would not necessarily result in a "regular" shape.
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Clear brush mask
JimmyJack replied to GFS's topic in Pre-V2 Archive of Affinity on Desktop Questions (macOS and Windows)
Hmm. Seems fine here. Are you at 100% tolerance?. Maybe a Mac/PC thing? (I'm on Mac) -
Clear brush mask
JimmyJack replied to GFS's topic in Pre-V2 Archive of Affinity on Desktop Questions (macOS and Windows)
You can use the Paint Bucket fill tool (with 100% tolerance). -
Try backing off your intensity. Oh, shame on me.... It's your first post. WELCOME to the forum!
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No no. The squeaky wheel gets the grease! By all means request away!!! (at least that's what my optimistic side says.....)
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Hmm. Don't need to hide anything. With all three selected all nodes are available for selection. Even those of shapes below others.
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Not in the least! And I think the "feature request" you're looking for is...... Please fix the <fill in words of choice> Booleans! (btw, they are aware.... and have been fixing them for about two years now)
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Nothing is going to be as easy as the way it SHOULD be. A simple add. This is just part in parcel of the whole Boolean "situation" within Affinity . That being said.... just trying to make the workaround world as easy as possible. The nightmare file seems to be basically the same as the other example. Just hide one of the other shapes to get access to red's nodes, or, with all three showing add a couple points to the red (two more don't do any more harm in my mind). Of course, if there are 50 objects, then yeah, that's gonna be a huge pita. I wouldn't spend two seconds wrestling with Affinity if that were the case at hand.
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I've got a bit of a different method... (of course ) But first: Yeah, in Illustrator this is simply..... Add . Anyway: I would break the curves in an innocuous place and then hit add. With RCR's example basically three clicks. If you want to close the curves after breaking (all in one shot), that's an extra click.
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So, now I'm a little confused too. If one doesn't want an incoming or outgoing curve control just click.... no drag. No handles. If one wants no incoming control but wants outgoing, use alt n drag.
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Oh! Glad I added the if I understand part ... . I was going off of the vid in the op. 4:45. (Keeping the incoming flavor of the curve before, while transitioning to a sharp angle to the next segment... curved or straight.) He says "lineS", but only one goes away. In fact I think he really should have clicked the handle itself and not the node. To get rid of both ya gotta click on both. Of course, one could Alt click as you go. You don't necessarily have to make the next node and then go back.
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What you want is now possible (If I understand correctly). On the fly, as you are creating each node, you can have control over both handles independently. Click drag to dictate the curvature from where you came then hold down CMD & Option to break the handles and determine the angle of continuation. No backtracking. I guess technically you would still have two handles on a node but the angles can be nice and sharp.
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Use the Distribute tool. This is equal spacing between strokes of descending/ascending thickness right? So I would: 1) power duplicate a square, with a thick stroke, down in proportion (not in proportion did odd things with the stroke width reduction amounts...) with stroke "scale with object" checked. 2) delete all the top nodes of all the boxes all at once. This will leave you with lines of different stroke widths.... and unfortunately, lengths. We'll fix that in a sec (step 4). 3) select all and use Distribute: Use the "Space vertically" Button with auto distribute UNchecked and use the slider until you see space between to two thickest lines. 4a) expand strokes. Boolean Add them all together. Trim sides with boolean by subtracting a couple rectangles (that part is same as gdenby). 4b) ....or just crop or clip or mask. If there are just a dozen or so lines like the example, I would adjust the stroke widths by hand. Takes about a minute. Then its just: Power duper stack of lines Adjust strokes by hand Use Distribute panel.
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Nice techniques, both of you. In Designer, you could select both and click create Artboard from selection.
