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Everything posted by paolo.limoncelli

  1. I work for the OEM market where UI screen are mainly low res (some of these use non-square pixels) and some implementations still need sprites as design strategy. In this case Pixel preview, Move By Whole Pixels and Force Pixel Alignment are vital. Also and Blend options are very useful.
  2. W&W Bristles have hi-res sources, but in terms of "complexity" there are far more complex stuff in default Oils for example. Grunge Oil 01 is probably one of the most complex available in AP "out of the box".
  3. I'm the designer in this case... πŸ˜‰ Off the pixel grid could happen even if totally unwanted Meb... When you have to deal with thousand of assets, nested stuff, bounding boxes, contraints and there is a "mixed" snapping scenario (candidates, reference etc...) cut&paste, drag from Assets... Even if the pixel snapping is on, sometimes rounding error happens. Anyway this has been my workflow since 2014 in AD... My idea was to add further hints to the discussion, if unwanted and what I wrote is totally wrong feel free to erase my comments. πŸ˜‰
  4. When you have lots of elements this his is exactly the best way to "spot" what is off grid... 😜 You know it should so if it does not snap you could go to transform panel and fix. Look at this scenario Pixel perfect positioning and size in Transform Panel... But you have pixel blur on the left edge... How can it be? Headaches... If you have Pixel snapping active and create a new shape, it helps you in finding the problem here. As you said, it will not snap, so you know that there is something wrong, since when I start dragging the X value starts with 0,8px off... You could move manually but it will be still off grid... In this case the whole artboard is 0,2px off. Move it back to integer and your job is done. πŸ™‚
  5. If I could add further suggestions, is a great idea to enable both Move By Whole Pixels Force Pixel Alignment In particular in UI design scenarios these are fundamental to spot "off-grid" assets. πŸ™‚
  6. Yes lots of users reported to me this thing to my support email. Now I'm very curious to know why this happens with my set only... πŸ€”
  7. Hi! Not yet possible with one tool only... I'm not a big fan of these effects... But... I want to help in any case... 😜 You could try stacking multiple layers and using the Paint Mixer Brush with no colour I suggest you to try with a Dust and Scratches effect and Unsharp Mask to simplify the picture and emphasise edges Then stack up other layers (duplicating) and start messing around with a suitable brush (Shame on me... here I'm using one of my Blockers included in Pigmento Set... 😬) And go on using smaller sizes... Maybe some Curves adjustment could help contrast Not the same as PS we're almost there...
  8. I've been able to replicate this too (finally) on Windows, briefly also with default Watercolours set. It is something dealing with the internal preview, DAUB W&W set includes hires textures and nozzles. I also noticed that editing of Jitters' ramp is slow and "sticky". Probably List preview struggles in rendering the stroke of these brushes.
  9. Nobody is excusing anybody here... πŸ˜€ Anyway performance could be a bug as much as it couldn't. I still can't see where is the rendering issue in your screenshot... I can see something like a 560% zoom in. Cannot replicate (you can see me zooming and panning in the video). Could you maybe record the whole process and upload the video to spot the issue?
  10. The "gray" rectangle is by design otherwise output of the Procedural Texture will not be seamless... I think this filter somehow "wins" over others. If you're applying this filter to an alpha channel and need to mask it you need another mask I guess... πŸ€” The only way to avoid any ambiguity is exposing a node UI... With a linear one it could be very hard to tell what is a bug and what is an error in the creation process.
  11. I guess these are expected too, since Live Filters and Adjustments are performed on a sort of "preview proxy" calculated on the visible zoom/area to make them "live". Anyway... Probably I did something different and didn't understand your procedure, but nothing happens on Monterey. Screen Recording 2023-01-16 at 10.22.04.mov To confine the procedural texture I guess you need a further clipping mask on top maybe?
  12. Further investigation, it is some glitch that appears using Pressure. This is my Wacom 27QHD driver And this is the behaviour with a simple round brush, it happens with internal cycles... So it is not related with HA or Bitmap brushes First strokes with Mouse, blocky ones with Pen Screen Recording 2023-01-12 at 11.59.26.mov Updated to newest Monterey...
  13. You have to use the same brush I've shown, it is a default one in Watercolours set. It is something dealing with bitmap nozzles I guess...
  14. Hi there, this effect is weird because I'm almost sure this behaviour was not there in the recent past... As you can see some blocks appear when I start brushing around. Screen Recording 2023-01-11 at 13.57.29.mov This happens only with Smudge Tool. My hw setup as usual... Cheers, Paolo
  15. If you use raster brushes you need to work in a "pixel first" approach to avoid pixelation. So if you're mixing vector and raster the correct design approach is to start your work at highest resolution for largest output size, and downsample. An example... You need a 4K picture for a video, and also covers/stills/social versions of this illustration. Start with a 4K canvas size, paint there and then export downsampled versions.
  16. Hi! You need to make a seamless pattern to make it close perfectly. No need to deal with open/closed paths. You could use Symbols in AD or Pattern Layer in AP, but you need to carefully design the geometry of your source. Also I suggest to clip your symbol inside a rectangle/square to allow pixel perfect positioning. Once you did this, you can remove the bounding rectangle from symbol and make things overlap, since now you have a "positioning reference" Be careful not to move the group, but only inside elements, and you can achieve better results Hope this helps! Paolo
  17. Ciao Elena, vediamo se riesco ad interpretare... Raddrizzi la foto, e poi vuoi riempire con InPaint la zona trasparente? Nel caso ti suggerisco una strada piΓΉ semplice Tenendo premuto CTRL o CMD clicca sul livello che ti interessa e verrΓ  selezionato Inverti questa selezione A questo punto puoi procedere con l'inPaint. PS. Se hai un caso come quello che mostro l'inPaint "brutale" potrebbe fare un polverone...
  18. If I correctly understood... You're searching for this scenario maybe? Sort of composed "live" clipping mask with its independent layers inside? In this case try this workflow... Works for both Raster/Vectors composed masks. Hope this helps! Paolo
  19. Taper is a way to fake the "contact shape" which could fade, it is impossible to mimic because tablets' tech does not contemplate this. I've always felt these automatic fading/ending somehow "unnatural" because are very personal: the shape of a stroke relies on artist's hand, pressure, velocity and skills. Even best implementations (CSP) are pretty complex to design/control and almost impossible make them "work for everyone" Taper management is not yet in Affinity brush designer, so could be a nice feature suggestion. Did you try using the Distance/Velocity for Accumulation/Flow/Size Jitter?
  20. Hi! What do you mean when you say "to save a mask"? Do you need to export this to an external raster file? If you mean to save to Channels it is pretty easy. In this case I have a vector rectangle with its own transparency together with a clipping mask and a clipped painting layer... So a fairly complex mask. Just select the layer/group you need, go to Channels and after right clicking on Composite Alpha choose Create Spare Channel and you're done.
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