iconoclast

That is a misunderstanding. Those vector brushes only use vectors as a core to align image informations (pixels) to. So they are indeed vector brushes, but their texture doesn't consist of vectors. I don't really know if Adobe Illustrator's vector brushes really consist of vectors only. To be honest, I would be surprised about that, because it would create a huge amount of data, depending on the complexity of the texture of the brush. Think of how many nodes it would need to create complex textures. However, I'm afraid this will not work only in Designer.

If you opened a Designer file and opened a second one - even I don't know why the second one should replace the first one - both files should still exist on your hard disc, I think. So nothing should be lost if you didn't overwrite it by saving. You should be able to close the file and open bot again. By the way, are you sure that there is anything replaced? Can it be that the first logo is lying in the same document, on a separate layer under the second one that hides it? Possibly a screenshot of your opened document, with the layers panel visible makes this case clearer.

That's interesting, because as far as I remember I made it as the official tutorial and even another one on Youtube told me and always dragged the Quality slider to the max. It always was a bit of a mystery for me why this slider exists anyway if you should always choose the maximum quality. But of course I always want the best quality, so I didn't ask for it. Thanks for the hint! I will check that out.

I think there must be something wrong with the self exported LUTs anyway, because if I use the ones I created myself, they take a lot more time to apply their effect to the image than all the other LUTs I have downloaded from web.

You could make a vector image outoff it by autotracing. Unfortunately Affinity Designer doesn't offer this feature at the moment. But you could f.e. export it as a png and then load it into the free Vector Graphics App Inkscape (freely downloadable at inkscape.org). In that program there is a feature "trace Bitmap" (or so) in the menu "Path". This is for autotracing. There are also other apps out there that can do similar things. I prefer Inkscape.

Hi Meekayashi! I don't know if there is such a feature in Photo, you are looking for, don't think so, but if you would draw your images in Designer, with curves (vectors), it would be no problem, because the areas inside the lines could be filled easily and small gaps shouldn't be of interest. And the quality of the drawings would be better, and they would be scalable without a loss of quality. In Photo, I would select the areas, I want to fill, with a mask, that can be drawn quick and easy. But of course not as quick and easy as with the vector solution.

Hi KelRao! I can't give a workflow at the moment, but an eps in fact isn't a curve object. Like a pdf, it is more like a container where curve objects, text and even pixel images can be packed in. So I think you must convert the data of the eps into curves if possible, before you can use the whole range of Geometry options. Have you tried a rightclick on the eps layer and then "Convert into Curves"?

"...ohne Struktur entpackt"? Welche Datei denn? Den Installer muss man doch nicht entpacken. Das verstehe ich jetzt nicht so ganz. Aber natürlich super, wenn es jetzt funktioniert.

Possibly also the Live Filter "Gaußian Blur" at that position in the layers stack prevents the mask from being edited. At least it did as I tried to reproduce your problem. Edit: Sorry, I made a mistake.

Wenn Publisher nicht auf Deutsch anzeigt, heißt der Abschnitt "Allgemein" natürlich "General" (auf Englisch). Naja, und dort sollte sich dann halt ganz unten (im Menü "Edit" unter "Preferences", unter dem Reiter "General") das Sprachmenü ("Language") befinden, wo man normalerweise auch "Deutsch" auswählen kann. Standardmäßig steht da "English (United Kingdom"). Danach den Neustart des Programms nicht vergessen - "Requires restart". Danach sollte das Programm auf Deutsch zur Verfügung stehen. Nur um das vielleicht etwas klarer zu machen.

Yes, of course the underlip becomes thicker if you choose my solution. Because of this, you need some retouching to adapt it to the chin area. Generally corrections like this are always a balancing act, because the form of the lips has to fit to the surrounding face, the muscles that normally form the lips, the proportions, to look authentic. So the space you get under the underlip by lifting it must be concealed somehow. If it is too strong, possibly you could get a better result if you also copy the top lip and move it a little down, and then retouche the area above a little too. As an approximation. But it will only work if the change is not too strong, as I already said. Edit: I tried it myself quick and dirty. Only selected the underlip, copied and pasted it, moved it up a little, refined the edges using a mask, then changed to the image layer below and retouched it with the Inpaint Brush. Now the area below the underlip, between the lips and the chin, is a bit thicker. Has to be retouched a little bit more, of course. Judge it yourself.

Ah okay, the problem might be that your image is not rasterized. So rightclick on the layer of the image in the Layers panel and click "Rasterize". After that you should be able to copy and paste the selected lip, so that it is on a separated layer. If you select parts of an unrasterized image and then copy and paste, you will paste the whole image layer. That doesn't make sense. And, as RichardMH said, take care that you are on the right layer. If you are on an adjustment layer, you can't copy parts of the image. And if you want to have the adjustments of the adjustment layer(s) also on the copied part, you need to merge the adjustment layers to the image first. Edit: Another hint: If you disable the selection (the marching ants), they are lost. That is right. But if you possibly still need it for future operations, you can save the selection. Go to the "Select" menu and click "Save Selection". You can choose "Save as Spare Channel" or "Save to File". Choose the first one. - The second one is for selections you want to use also on other images in the future. The saved Spare Channel will create a new entry in the Channel panel. If you have disabled your selection, you can get it back easily by rightclicking on the Spare Channel entry and click on "Load to Pixel Selection". It is saved there - but only for this certain document. If you are interested in the whole functionality of this Spare Channels and so on, better read the Help file about it. You can even combine selections with it. Very helpful thing.

Only selecting is not enough. Copy (Ctrl+C on Windows, Cmd+C on Mac) and paste it (Ctrl+V on Windows, Cmd+V on Mac), so that only the selected and copied part is on a separate layer. Then you can move it. And the selection (marching ants) must be abolished.

I'm not sure if I really understand what you want to do, but if you want to create a Texturized Intensity Brush for Photo, the brushhead has to be black (in fact the color doesn't really matter, it will always paint the color you choose in the color picker) on transparent background. If you want to create an Intensity Brush for Designer, it has to be white (or any other color) on black. Both can use the color you selected in the color picker. You can also create Image Brushes. But that ones can't use the color picker colors in Photo. They always paint the original images in the original colors they are made of. Don't remember at the moment if it is the same in Designer. If you don't know how to get the transparency: in the desktop-version of Photo, open the menu "Document" and click on "Transparency" (or so). In Designer open the menu "File", click on "Document Settings", click the tab "Color" and select "Transparency". I don't know where you find it in the iPad-versions, sorry!

But do that before you insert colored images. Otherwise they will stay black&white (greyscales).

I think, your fault was that you installed it to Photo, not to Designer. Seems like those are Designer brushes (vector). But the styles and assets should work in Photo too, I think.

I think, I would simply draw a selection around the lower lip, copy it and paste it to a separate layer. Then I would move it a little bit up and retouche the transition to the chin area and the labial angles. It will only work if the gap is not too big, because it will not look authentic if the lip doesn't fit to the surrounding face muscles that are normally responsible for the behaviour of the mouth. I already made similar things in the past this way and it worked if the intervention was not too hard.

Did you try it with Artistic Text, as GarryP said, or with Frame Text? In case of Artistic Text, you should also be able to scale the text by selecting all text layers and scale them with the Transformation Panel. Didn't try it myself, but I think it should work. Edit: Tried it, and it worked. But it will also increase the distances between the single text parts. GarryP's solution works better. Just select all text layers, set the cursor into the Font Size field and press the Arrow Keys for Up or Down to in- or decrease the font size. Or insert certain values. This also works with Frame Text, but the Text Frames will not be in- or decreased with it. Only the text itself.

Do the apps appear in the Task Manager after you started them? I don't know if it is possible, but could it be that they appear on hidden Desktops? Since Windows 10 Windows has virtual Desktops (Linux has that since about thirty years). Maybe the apps open on one of them? Or do they possibly open outside the edges of your screen? I had that long time ago as I used two monitors.

Du kannst aber auch im Burger-Menü, im Assets Panel oben rechts, einzelne Kategorien löschen. Dann ist nur deren Inhalt futsch, der Rest aber bleibt erhalten. Ein durchdachtes Management bei den Assets ist ratsam, damit man sich noch durchfindet. Leder kann man Assets zwischen den Kategorien scheinbar nicht verschieben, wie es etwa bei den Pinseln möglich ist. Zumindest habe ich noch keine Möglichkeit dafür gefunden.

It is just that if you create a style from a text with f.e. the font Arial, and you apply the style later to a text f.e. with the font Times or any other, your text will change to the Arial font, because the Arial-information is then part of the style. If you create your style from a shape, the font will not change. So if you create styles from text, they are more specific.

To prevent misunderstandings, you can't save shapes as styles. I think that wouldn't even make sense. Shapes can be added to (and then dragged from) the Assets panel. Styles are only for effects, colors, gradients... that you apply to shapes or text. And a font also is such an attribute you can give a style. But you should be aware of that if you create a style from an editable text, the style will also contain the information what font the text used. Because if you create a text later, and you want to apply a style to it, in that moment it would possibly change the font you have chosen. You can prevent this by creating your styles from shapes - not from editable text. Except you definitely want that certain font to be connected with that style. This is a thing one should know, I think.

Es gibt Programme bei denen das der Fall ist oder zumindest mal war. Ich weiß das z.B. von ArtRage, einem Malprogramm, das man mit einer Lizenz unter beiden Systemen betreiben durfte. Und wenn man wollte konnte man es sich obendrein auch noch unter Linux installieren, wenn man das hinbekam. Geht aber ab der aktuellen Version schon rein technisch alles nicht mehr, da man das Programm nur noch im Microsoft und Apple Store bekommt. Ich fürchte das könnte der allgemeine Trend werden.

Yes, the Styles are an amazing feature. I totally agree. Only to be save, have you noticed that you can also save 3D-effects, drop shadows etc. as styles? Styles can also be fixed to certain fonts. So as a tip: if you want to create standard styles for later use, it will possibly be better to create them from a shape like f.e. the Gear. If you create them from a certain editable text or single character, the style will always recall this certain font you created it from.

You're right, you can create a gradient also with the Layer-FX. Didn't think of it. But you can do the same with the small dropdown panel you don't seem to like. I personally find it more convenient. Especially if you activate the Fill Tool (Shortkey "G"). Then you get the gradient path lying over the shape. And you can add points by doubleclicking on it and move and recolor the points. And you can zoom in to be able to adjust the distances between the points very fine. Also the result of this can be stored as a Style.