yakk

Of course it would be great to have that new app quickly and full featured, or the DAM one which will my personal treat, but like MEB said you cannot catch up 25 years of development from scratch in just months.
 
I just want to add an important point about the Affinity products, it's this forum. I don't know any other application, except in the open source, where you have a direct contact with the developers !
It takes time to have a new, completely functional feature but you have a direct feedback about how it works and how it is improved.
 
So yes, all they can say about the schedule is "probably", "expected", etc... and how could they do differently ? At least it's not an automated answer  ^_^
But when you hit a bug, they ask for the files to check it out.

Hi Diller,
I see your points and it's true (and expected i believe) that Publisher will go trough a development process as Photo and Designer. That's how software matures and grows.
Until a year and half away (a little more actually) there was no alternatives at all. Nobody was even discussing this. Affinity is a new line of software, started from scratch so naturally it won't be able to "replace" a 25 years old suite from one day to the next. Specially one that's dominating the market for so long and that a lot of people are used to work with.
 
I don't think it's fair to look at Affinity at this point for what it lacks compared to the competition. Instead i would hope people will look at it for what it already offers and for the possibilities it opens in the future with continuous development. 

Oval, can I ask you something ?
 
If working with Illustrator files is so important for you, why don't you stay with Adobe products ?
 
If your expectation from another software from a different company is to continue to work without any change, I think you're missing a point.
In an ideal world, Affinity product shouldn't become 100% compatible with Adobe file format but Affinity file format should become a new standard for professionals, with Adobe ones.
 
We can clearly read your frustration with those problems but Serif has some terrific products, but different ones. Even if Adobe is a reference (being around for 25 years helps a bit) I'm not expecting AD or AP to be a perfect clone of their products, which means working differently, different logic in the tools and... different format files to work with.
 
Just my 2 cents.

Hi rcmos11
 
Why don't you use the lasso tool to select the inner shape without antialias selected ?
You can fill this selection with your specific color.

I can help with some of those! (and the basic answer is - it's best to just leave them all at their defaults unless you have a specific problem!)
 
- Dither gradients = slower by about 7% when turned on, but looks nicer so best left on
- Precise clipping = slower - sometimes by quite a lot, and not something you'll usually be able to see either, so best left off
- Hardware OpenGL = a LOT faster if it's turned on! Otherwise it reverts back to software implementation which will mean that there is less CPU time free to draw the document
- Integrated GPU only = if you have a MacBook Pro then it will (by default) try to pick the discrete card (if you have one) which is fastest but uses more power. I have mine set to only use the integrated GPU because my 2015 MacBook Pro has a bit of a 'wobble' on the screen when it goes in/out of discrete GPU
 
Hope that helps a bit :)
Matt

I'm curious as to how each of the items affects the applications' performance. There's no explanation in the help files.
RAM Usage Limit: I notice this can be dragged up to ~64 GB (which is more than 5 times how much RAM my Mac has...); does lessening the amount keep the application running smoothly... or do I need to open it up to the maximum amt of RAM I have so that it doesn't get "bottled up"? Disk Usage Warning Limit: This one's a bit confusing--does the application warn you if there's less than the set amount when you try to save a document? Again, the max is set at 64GB, even though my hard drive has 40 GB of free space at the moment. Undo Limit: I presume that the lower I set this, the less RAM the application will need Dither gradients: faster performance checked, or unchecked? Use precise clipping: same question Use hardware OpenGL: same User only integrated GPU: same

Well everything is already said. I can just add that I agree  ;)
Very nice Paolo

Hi fmlphoto,
 
Is the caps lock on when this happens?
 
Paul.

Different RAW developers will definitely produce different results. iPhoto and DxO Optics Pro are akin to using automatic transmission in a vehicle, as many enhancements are done for you to give a result that many find useful. Other RAW developers are akin to manual transmission in a vehicle, as you are in complete control and make all of the decisions to produce what you find pleasing. I find the Affinity Photo Develop Persona (the RAW editor) much like operating a vehicle with a manual transmission, as it brings the photo to the workspace in a rather neutral state and allows you, the artist, to develop the image to your taste. Affinity Photo is your digital darkroom where you are in control. This doesn't mean that iPhoto and DxO do not allow one to adjust the look of the image to one's taste, it is just that they start with settings that many people find pleasing. Some days I prefer automatic drive and other days I prefer manual drive. I find Affinity Photo a very useful addition to other RAW developers I use. Which developer I use depends on my task, time frame for the task, and mood I am in. However the RAW file is developed, the developed image may be processed within the Photo Persona to do other types of editing tasks. Take your time, view the many settings common to the developers you mentioned, and note how these settings are applied by default on the same RAW image, and you will discover why your developed images do not look the same. You will also discover that there are different algorithms for noise reduction and other tasks. Manual drive cars do not all behave in a single way, so different maths will produce different results in the images. This is not unlike the photographer of the past in the darkroom choosing the type of chemistry to use, the company that made the chemicals, the specific film type of that company, paper type,  temperature, concentration, exposure time, burning, dodging, and so much more. It was complex and modern digital methods in manual mode are no less complex! Complexity is what makes this truly fun, but there will be days that an iPhone camera and Photos app will be good enough to do the job. ;-) Above all, take your time, experiment, take notes, and have fun! Oh, and ask questions; lots and lots of questions.
 
Solly
JFSJ

Hi everybody
 
I finally found some time to work seriously with AD.
 
It's inspired from a photo, the screen is an actual screenshot of my own iPhone.
I had one major problem, it's the gradient on the lower corner. I didn't find a proper way to blend it with the sides.
At the end, it's just a ghost shape with a gradient and a mask manually painted, trying to avoid to be too visible.
If you have recommendations to improve that, let me know !
 
Criticisms and advice are very welcome, I need to progress  :)
 
Thanks

Just got it and I like it too  :)
 
Very clean, nicely done. Thanks for sharing Dennis

Hello
 
I tried to draw a toothpaste that I have used.
I hope you like it.
 
 
Outline is...
 
https://youtu.be/8oLCbe4nqyc

Hi ronnyb
 
I knew the button on the context bar but not the shortcut. Thanks for that, great tip !  :)
And yes, I agree with you about keeping the last active one.
+1

Hi everybody
 
I finally found some time to work seriously with AD.
 
It's inspired from a photo, the screen is an actual screenshot of my own iPhone.
I had one major problem, it's the gradient on the lower corner. I didn't find a proper way to blend it with the sides.
At the end, it's just a ghost shape with a gradient and a mask manually painted, trying to avoid to be too visible.
If you have recommendations to improve that, let me know !
 
Criticisms and advice are very welcome, I need to progress  :)
 
Thanks

Hi everybody
 
I finally found some time to work seriously with AD.
 
It's inspired from a photo, the screen is an actual screenshot of my own iPhone.
I had one major problem, it's the gradient on the lower corner. I didn't find a proper way to blend it with the sides.
At the end, it's just a ghost shape with a gradient and a mask manually painted, trying to avoid to be too visible.
If you have recommendations to improve that, let me know !
 
Criticisms and advice are very welcome, I need to progress  :)
 
Thanks

Right now AD displays two sets of bounding box, a "global" one that remembers all object transforms, and a "local" one which is a tighter crop after one presses the . (period) key — global and local being used for a lack of better terms.... However, as soon as one deselects the object and selects it again, AD reverts to the "global" bounding box.
 
My request is: could it be possible for AD to toggle and remember the current bounding box state (global vs local) when the user presses the . (period) key? Having to always press the . key becomes tedious... I think the functionality is better served via a permanent toggle instead of the current temporary one.
 
Thanks for your consideration, hope all is great at Serif Labs

You were faster on that one Alex.
But I'm glad to see I didn't say too much bullsh*t  :P

Hi everybody
 
I finally found some time to work seriously with AD.
 
It's inspired from a photo, the screen is an actual screenshot of my own iPhone.
I had one major problem, it's the gradient on the lower corner. I didn't find a proper way to blend it with the sides.
At the end, it's just a ghost shape with a gradient and a mask manually painted, trying to avoid to be too visible.
If you have recommendations to improve that, let me know !
 
Criticisms and advice are very welcome, I need to progress  :)
 
Thanks

Hi everybody
 
I finally found some time to work seriously with AD.
 
It's inspired from a photo, the screen is an actual screenshot of my own iPhone.
I had one major problem, it's the gradient on the lower corner. I didn't find a proper way to blend it with the sides.
At the end, it's just a ghost shape with a gradient and a mask manually painted, trying to avoid to be too visible.
If you have recommendations to improve that, let me know !
 
Criticisms and advice are very welcome, I need to progress  :)
 
Thanks

Very cool ! Thank you Dennis for this tutorial  :)
 
I'll give a try on this.

You were faster on that one Alex.
But I'm glad to see I didn't say too much bullsh*t  :P

Hi Tiago
 
I'm far from being a guru but I'll try to answer your questions (and I don't know AI).
 
1. You have to activate snapping and be sure your shapes are curves. You can then snap points of the shapes.
2. Personally I use Esc key
3. I don't know if there is a shortcut for that but you have a button in the context bar
4. Yes. With the pen tool, just click without dragging and create two points, you'll have a straight line
5. Yes. Ctrl+Alt and drag
 
I would recommend you, if you haven't done yet, to download the trial version and give it a try by yourself to see if it meets your needs.
:)

Hey guys!
 
Today I played around with the displace live filter.
It’s a very nice and powerful tool to simulate folds of cloths,
but also cracks in walls (like shown in one of the official tutorial
videos by Affinity), grainy paper textures and so on …
 
This is my first »tutorial« … ever. If you may call it one.
So forgive me for eventual mistakes.
Though It’s pretty much self-explanatory and not that hard
to follow, I think. ;)
 

 
Like I captioned the video: basically you want to create a separate
image with a greyscale profile (at least that’s how I do it), reduced
noise and texture plus a good balance between high, low and mid values.
  Grey fabrics work best if you want to change the colour afterwards.   Maybe this helps, have fun playing around with different backgrounds!  ;)   Cheers Dennis

Hi everybody
 
I finally found some time to work seriously with AD.
 
It's inspired from a photo, the screen is an actual screenshot of my own iPhone.
I had one major problem, it's the gradient on the lower corner. I didn't find a proper way to blend it with the sides.
At the end, it's just a ghost shape with a gradient and a mask manually painted, trying to avoid to be too visible.
If you have recommendations to improve that, let me know !
 
Criticisms and advice are very welcome, I need to progress  :)
 
Thanks

Oval, can I ask you something ?
 
If working with Illustrator files is so important for you, why don't you stay with Adobe products ?
 
If your expectation from another software from a different company is to continue to work without any change, I think you're missing a point.
In an ideal world, Affinity product shouldn't become 100% compatible with Adobe file format but Affinity file format should become a new standard for professionals, with Adobe ones.
 
We can clearly read your frustration with those problems but Serif has some terrific products, but different ones. Even if Adobe is a reference (being around for 25 years helps a bit) I'm not expecting AD or AP to be a perfect clone of their products, which means working differently, different logic in the tools and... different format files to work with.
 
Just my 2 cents.