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Hello everyone!
This is a simple gradient set '.afpalette' I created to share with the community. Let me know if it was of any help to you in your projects!
Great places to use will be Website and App UI development (loading bars, background etc) and logos if you'd like.
Have a great day

Sivadharshan Affinty Pallette - Gradient Set 1.afpalette

Thought I'd show another comparison of original sketch to vector.

Hi everyone,
I created this Torus-Eye mandala in Affinity Designer. It is really a labor of love, but I am satisfied with the result.

Graffiti Vector Wall Assets Part 02
Added 40 seamless-ish patterns as Assets
Contains 2 x 20 Asset Categories [Brickwork 03 | Brickwork 04]
 

After the announcement the forum gets cluttered with tons of threads mixing Canva to every unrelated regular bug/question/feature request. I would like to continue using the software and participating productive discussions in the forum where Canva is totally irrelevant. So please add a new section for all threads related to Canva, and keep the regular sub-forums clear from distractions.

Attached are two files, each of which contains a vector-based Sine Wave, Parabola and Hyperbola. This allows for fast, easy creation of these three curves, which can then be scaled and/or edited as desired. Nothing fancy.
One is an Asset file (Curves.afassets) and the other is the Affinity Designer v2.4.1 file from which the assets were originally generated (Curves.afdesign). The strokes are black, and I included a white rectangle in the background so they are clearly visible in the Assets Panel.
To install Assets, open the Assets Panel and choose Import Assets from the hamburger menu. 
Lou Dina
Curves.afassets Curves.afdesign

Hooray! With the extra resources now available to Serif perhaps the developers will be able to stop the nodes and handles of object disappearing when you move a guide and also develop a perspective drawing feature.

This is the first watercolor portrait that I've created in Affinity Photo. I think the result came out not too bad.

🙂

International Flags.afassets

I completely agree with this for non-contiguous Artboards with whole pixel dimensions (no matter where they are "placed") and it would avoid most of the problems created by the flexibility to place them where you choose... BUT you would still have problems when artboards touch each other and are non-pixel aligned widths/heights.
I ALSO feel the artboard tool should always default to creating pixel aligned and whole pixel widths and overriding would require a conscious choice.

It is possible to place the icons fo alignment operations in the symbol …
Maybe that helps.

I have been playing around with styles lately making a bunch for different email marketing campaigns I have been working on. I started off here on the forums to see what others have done and what is possible. In doing so, I came across a post from the pre v2 archive section of the forums from someone looking for a style to recreate an effect in Affinity Designer. See the original post here.
I think I have come close just casually playing with it and I thought I would share the style here (See attached v2 AD Style). Here is the original:

When I make styles for use with text, I like to design it with the text but then apply to a shape then save style from the shape so the font is not saved with it unless I typically use that font with the style.
Below is a single v2 style applied to a font I have called "yellowtail" (Not sure where I got it, probably w/CorelDRAW). I then added the border around the text and the tail. I will show both.
Just the style applied:

With added tail, just drawn with the pen tool with same style applied) and an underlying layer under the text.

I have attached a copy of the tail as well for those who are not comfortable with the bezier pen tool.
I hope someone finds this useful. With In AD v2 more is possible in "styles" than v1 and I encourage more "Styles" creation and sharing
Cheers!
 
Blueliner Vintage (AD v2).afstyles
Tail for Vintage Txt.afdesign

I am attaching a macro category called “Reticulated Gradient Map” which can be used for color grading or for creating an artistic rendition of a photograph. The look was inspired by a recently viewed YouTube video on the Texturelabs channel in which an image was posterized and gradient mapped, but with a specific type of grain applied to the borders of the colors. The original video can be found here.
The effect relied on a filter found in Photoshop’s Filter Gallery called “Reticulation”. Although the Reticulation filter is not available in Affinity Photo, this macro duplicates the effect fairly reliably.
Here is a before and after image, along with the User Dialog settings used during the image’s creation.

The macro creates a number of adjustments and other layers inside a Group called Reticulated Color Grade. Because the effect is entirely contained inside the group, the effect can be turned on and off by showing/hiding the enclosing group. Also, the effect is entirely non-destructive (with one exception, discussed below) and will respond immediately to any additional edits made to the original image.

I have also created a PDF (also attached to this post) with specific instructions for using this macro. However, in brief, invoking the macro will set up the Layers stack (as above) and present a dialog to the user for some initial settings. You will be asked to set the following:
1) Adjust Reticular Noise Size (destructive)
The “Reticulation Noise” layer is a pixel layer in which a reticulated pattern of noise is applied. The macro invokes an “Equations” filter to increase or decrease the size of the noise. The default value is 0.8, and the slider will accept values between 0 and 1 (although anything above 0.8 is capped at that value, since the math falls apart above that value). In general, the default setting results in the largest reticular noise available, but the noise can be decreased in size by setting the slider to smaller values.
2) Adjust Reticular Noise Opacity
This slider affects the opacity of the “Reticulation Noise” layer. The overall effect is that, at lower values, the graininess of the reticulation is held closer and closer to the borders between colors. The default value is 20% and the slider will accept values between 0% and 100%. In general, keeping the value to smaller numbers is usually going to be more visually pleasing.
3) Distribute Tones
This slider affects the Gamma slider in a Levels adjustment. Because the Levels adjustment is applied prior to the Gradient Map, shifting the slider to the left or the right will shift the colors toward the lighter or darker tones respectively. Play with this a bit, watching for the appearance or disappearance of colors mapped to whites and blacks.
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The first setting, in which the “size” of the noise is adjusted, is a destructive change. It cannot be edited once the macro has been finalized. This particular slider should be set carefully. However, other values can be edited afterward. I would suggest the following edits after the macro has been allowed to complete.
1) Open the Distribute Tones layer. This is a Levels adjustment, and sits inside of the “Monochrome Group.” I have found it to be helpful to move the Black Level and White Level sliders inward so as to meet the left and right borders of the histogram. Also, you can adjust the Gamma slider so as to shift the gradient mapped colors toward the lighter and darker values.

2) Select the Reticulation Noise layer and fine tune the Opacity of that layer. You will find that adjusting the opacity of the layer will shift how much the graininess of the reticulation involves the individual colors. In general, keeping the Opacity low will keep the reticulation noise closer to the borders between the individual colors.

3) The macro uses a Gradient Map that uses purple and orange colors for its default. Obviously, you can change this (and you probably will want to!) Open the Gradient Map Adjustment layer and change the colors as you’d like. Using an adjustment preset will make this easier, but those presets are up to you. Be aware that the macro sets the Posterize adjustment to 5 levels, and the Gradient Map has stops at 0, 25, 50, 75, and 100%. This means that the end result will give 5 posterized colors, as represented by the colors chosen for those stops.
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The attached macro category should be imported into the Library panel, using the “hamburger menu” at the top right corner of the panel. The macro was created in Affinity Photo 2, and will not be compatible with version 1. Also, once the macro category is imported, you can drag the macro to any other category you already have set up. (I have placed the macro inside a Category that I created called “Color Grading” but you can set up your categories as you would like.)
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As with all of the macros that I have submitted please remember that I am one person working with one computer. I have tested the macro in a fairly limited fashion, and it works well for me. I believe that the macro functions as stated, but of course I cannot make any guarantees.
On the other hand, if you like the macro you should keep it and enjoy it. It is free to use for personal and/or commercial work, and you do not need to credit me in any way. My only requests are these: (i) please post a response in this Forum topic to let me know that you are using the macro and (hopefully) enjoying it; and (ii) please remember to “pay it forward” by contributing to the forum in any way you can. It is by sharing your experience and your expertise that we all improve our skills and our enjoyment.
Reticulated Gradient Map.afmacros Using the Reticulated Gradient Map Macro.pdf

Apps: All
Platforms: Windows, macOS and iPad
While transforming any object with the move tool (whether resizing, rotating, skewing or moving) you can now hold space to temporarily toggle Lock Children on or off (to achieve the opposite behaviour of what you currently have set in the context toolbar).

For this picture I had to completely replace the sky, which at first seemed unfeasible. Then I remembered a channel selection in this context. So I selected the blue channel (the main colour of the overcast sky), inverted it and cropped it with a mask. Selected a new sky and inserted it under the leaves layer. The rest was then just a matter of adjusting the tonality and colour.
 

Having an outline option when we want to open a PDF file is very useful, especially when we don't have the fonts. Sometimes, people forget to outline their fonts before sending their files! It seems only Adobe Acrobat has an outline option.
Here is an example.

Issue:
In my Affinity Publisher documents, I tend to use the same text styles. When copying and pasting text between the documents, the styles get duplicated with a number added at the end. This happens even if the styles are identical. Example:

^ These are all the same style which have been duplicated when copy & pasting between documents. 
Solution:
When copying and pasting between a document, Affinity should ask the user how handle duplicate styles rather than just numbering them.
 
Here is an example of how it could work:

This dialogue box would pop up whenever copying and pasting text in situations where Affinity would currently just duplicate the style.
This dialogue box would be optional, activated first via an option in preferences, so users who like the current handling of style can choose not to activate the option. 

Explanation of options:
Merge Styles - Keep incoming definition This option will cause the two styles to be merged. All values will follow the source document.  Merge Styles - Keep local definition This option will cause the two styles to be merged. All values will follow the local document.  Create new style - This will create a new style (which is how Affinity currently handles it by duplicating the style and adding a number to the name). Additional options:
Clear Overrides - Any differences between the local and incoming style will be discarded.  Keep Overrides - Any differences between the local and incoming style will be kept as overrides.  Save Overrides as character style - The differences can be saved as a character style.  Example:
I have  "Document A" which has  text that has a style called "English translation". This is just Helvetica, bold text 12pt. 
I copy and paste this text into "Document B" that already has a style called "English translation". If I select "Merge Styles/incoming" then the style from Document A will be used. If I click clear overrides, then any differences between the text in document A&B will be lost. 
Who would this be useful for:
This would be useful for users who regularly copy and paste text between Publisher documents. 
History
This feature request is actually something I requested back in 2019 for Affinity 1. I am making a new request, because the issue still plagues Affinity 2 and it's super, super annoying. It still happens even when the source and destination have the same style sheet with the same style definitions. 
I literally spend 20% of my time using Affinity wrangling with styles. Grr!
As a workaround, you can copy and paste into a new document, go to the text styles menu and then select "Detach and Delete all styles". And then, from there, you can copy and paste into the destination document. You can then re-apply the styles in the destination document. (If you are on a Mac, you can use Keyboard Maestro to copy and paste your text without formatting, thus saving the step of pasting into a new document). But even with this work around, it's a still a time waste!
I appreciate that development of new features is complicated, so I just hope things work out to make having a solution viable one day, hopefully sooner than later. 

I'm using Designer 2.2.1
Normally when changing a node from Sharp to Smooth (or Smart) you'd expect the curve to change. But if the curve at the Sharp node is actually "smooth" to begin with, there's no reason for the shape of the curve to change.
It may not be possible to create this scenario from scratch within Designer, since when you have a Sharp node and move a control point such that it becomes parallel to the other control point, the node automatically becomes Smooth. However, this is not the case when opening an SVG file or editing an embedded SVG file. Consider this portion of a Designer file that was used to open an SVG file:

The node in the center is Sharp, yet the control points are aligned (perhaps give or take a rounding error). But if I change the node type to Smooth, this is what I get:

This behavior makes touching up imported graphics imprecise and much more tedious. Designer should recognize this situation and leave the curve as-is when converting the node to Smooth.
Of course, this situation would arise much less frequently if Designer had its own bitmap trace support. 😉
The attached afdesign file was derived from opening an SVG file with Designer (I created the SVG file by tracing it with CorelDraw and exporting). You can play around with it if you want.
 
sharp-to-smooth.afdesign

I know this is by "design" but why is Serif so keen on using this non integer pixels anyway?
I think that users are more comfortable with losing half a pixel here or there and not having to deal with blurry outcome.
It also makes development a lot easier for a future tracing feature and have grids and guides act better in all 3 the programs.
And can lose some overhead for the calculating factors for vectors as it doesn't need to recalculate every non integer pixel position but move by whole pixels instead.

Yes, I already noticed it's due to the non integer transform positions, but this is still a bit ridiculous. This is not anything I as a user should ever get in contact with:
- If makes 0 sense for rendering filter (nearest neighbor/bilinear) to actually be baked into the exported image. It should only be used for viewport.
- There should be some global option to simply disallow subpixel transforms, and round up all floats in transform panel to integers. If I am working with bitmap images, then the smallest discrete increment is a pixel.
I as a user should never be making a choice between less buggy and high quality interpolation, as nearest neighbor will produce aliasing under many conditions. I should just be able to use bilinear but not have to worry about constantly manually rounding float decimals in the transform panel.

I have attached a macro category called "Enhance Skin Tones." This is a free download which will help add color and tone to the skin of your portraits. There are 21 different enhancement macros included, grouped for Light, Peach, Tan, and Dark skin. These macros are meant to enhance, not replace, skin colors. The macros are all based on the use of Gradient Maps, and use different dark and light colors along with setting opacity and blend mode for each adjustment.
While the skin tone macros are grouped into Light, Peach, Tan, and Dark skin groups (roughly corresponding to Caucasian, Asian, Hispanic, and African coloration) they are certainly not exclusive. You may want to experiment using the adjustments from any (or all) of the groups to add different coloration and tone to your underlying portrait.
The Light and Peach skin tone macros add a gradient map and set its opacity to 25%. The Tan skin tone macros set the opacity to 30%. The Dark skin tone macros set the opacity to 40%. All of the macros set the blend mode of the gradient map adjustment to Soft Light. You should also experiment with changing the opacity and blend mode of the adjustments, as these will create different effects that you might like. Try using blend modes such as Overlay, Linear Light, and even Multiply. The results can be subtle, but changing the default settings can often make them fairly dramatic.
An important note: the macros work best when you have the skin selected prior to invoking the macros. This ensures that the gradient map adjustment uses your selection as a mask, and applies the changes to the skin only. As with all layer masks, however, you can edit the mask (by painting on the adjustment layer in black or white) after the fact.
Here is a graphic that includes 4 portraits (labelled as Original versions) along with versions of each of the 21 different skin tone enhancing macros. The enhanced versions are all based on the default settings for the respective macros. Under each example is the name of the skin tone macro used, along with a gradient representing the dark and light colors used in the gradient map adjustment. Remember that these results look very subtle, but your results can be more dramatic simply by increasing the opacity slider.

The attached macro category was created in Affinity Photo 2, and probably will not be compatible with version 1. It is a category and therefore should be imported into the Library panel (using the "hamburger menu" at the panel's top right corner). The category includes the 21 skin tone macros, but also includes a macro called "Try All Skin Tones" which will create a group (with sub-groups) that includes all 21 adjustments so you can try them all to see which one you like. There is also a macro called "Instructions - Enhance Skin Tones" which will display on-screen instructions for using the macros. These instructions are placed in a separate layer which you should delete after having read and understood the instructions.
[These macros are loosely based on some of the gradients used in a recent YouTube video by Blake Rudis, whose f64 Academy channel has been quite helpful (especially for matters concerning color grading). Blake's videos are exclusively aimed at Photoshop users, but the methods he uses are almost always compatible with similar methods in Affinity Photo. So, a big thank-you to him.]
As with all of my Resource uploads, these are the work of 1 person working on 1 computer. I do not pretend to have tested them extensively, but I believe they will function as they are supposed to. Try them and see if they work for you. If they do, they are free for your use without restriction.
I have always encouraged users to "pay it forward" and help others in this forum as they themselves become more knowledgeable and adept at using Affinity Photo. This is how knowledge and good will spreads.
Enhance Skin Tones.afmacros

Thanks, @v_kyr. My design was a simpler one, but fun to make

Tried to replicate this on an Windows 10 machine using Designer 2.11 …
Works – i get the strokes as separate curves – until i try to undo with CTRL-Z: Crash.
Greetings

@Return That's realy cool … Thanks!

However, the examples only work for intersections within a curve. Not when different curves cross.
Illustrator has the advantage that you can assign a contour style to an entire layer. Each object within this layer will have the same appearance even if separate curves cross.
Would be a ncie feature for Designer too …
Greetings