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  1. Hi Callum, that's funny. I disabled Metal Compute ... it works as expected. I re-enabled Metal ... it continues to work as expected. May be, that detour forced a kind of cleanup behind the curtain. By the way in case that it could be helpful for your analysis: I am using a Mac Mini 2018 with a T2-Chip. My be that chip gets in the way when one addresses metal in the "wrong" way. Thanks for your quick and successful help
  2. I have downloaded all YouTube Videos available on this topic. I was not able, to reproduce the results shown in any of those video with my Affinity Photo program. In the meantime I suspect, that either somthing within the program is broken or no longer available. My understanding of the procedure is: Select the layer which should be manipulated Select the source for manipulation - this can either be the same layer as the target layer, another layer, or an image on the harddrive Select the blend modus and the color space Enter expressions in the field for the target color - for example DR = SR/2 DR = SR/SG*0,2 Regardless of which combination of the above I choose ... there is no change in the image By the way: The workaround described here does not work either:
  3. For the design of machines I often need to connect 2 rotating parts. In attached example both cranks can be rotated individually. The green connection-piece should move Crank#1 to the right whenever Crank#2 is moved to the right. It probably goes beyond a little modification. But rumors say, Serif is working on 3D-modeling program ... would nice to get this function any which way. Connect two cranks.afdesign
  4. What you explain as benefit of the absolute ration can be achieved with item 3 = own ratio as well. So from my point of view either option #3 or #4 is redundant. I hope that the affinity-team reads all posts and considers to add an option which allows to define a selection via keyboard entries for "X" and "Y". Until this happened I will use this workaround: I have saved a 3600x2400 selection and load it whenever needed. Then I can move the selection around. Once that best spot has been found I copy the respective part to clipboard and go to "new file from the clip-board".
  5. Hi walt.farrell the purpose of "Absolute Size" is that I can define a frame using my keyboard - that is much more precise than trying to pull it with the mouse to EXACT 3600x2400. Besides this - what you describe is actually the first crop option i.e. no limit in ratio whatsoever. In other words according to your word I see no difference between Option #1 and #4 = German "Uneingeschränkt" and "Absolute Größe" = Unlimited vs. Absolute.
  6. I have also problems with cropping - aside that it appears kind of sluggish now compared to as it used to be I have the following issues: I take most of my pictures in the size 6000x4000 and store it 3600x2400. All of a sudden I cannot longer use the crop tool, select as absolute size 3600x2400 and get a sub-frame within the 6000x4000 picture. When I now define as absolute size 3600x2400 the whole picture remains still selected (i.e. only ONE frame) - hence no chance to get a smaller rectangle suitable to test for the section that would look best. My workaround: I define as ratio 3:2 and draw a frame starting top left i.e. at x=0 an y=0. Than I pull until the frame is slightly for example 3609x2406. Now I can move THAT frame as I need. Yet I would prefer to define the exakt frame in the first place. By doing so I reduce (hopefully) further deterioration of the picture as result of resizing from 3609x2406 to 3600x2400 Another change: When I define 3600x2400 as an own "custom crop size" it still selects 6000x4000 but the export dialog shows automatically 3600x2400. My workflow before was, that the actual size of the manipulated picture was shown - for example 4500x3000 - and I had to change that to 3600x2400 Is there something I have missed with the recent updates?
  7. As of 10/26/2018 it is still not possible to combine the 2 red object in a non-destructive way - I am using OSX 10.12.6 with A Designer 1.6.1. Since it is difficult to select the tear with the knot-tool, I have hidden all layer but those two. Also I have tested if the order of selection makes a difference or if it could work by converting the tear to curves … none was successful. So, as I have noted as comment on the tutorial sit I just duplicate both layers and hide them before combining the two shapes permanently
  8. Hi reglico That looks like what I am looking for. Guess you created those brushes yourself Would you mind sending me a copy of those brushes via a post?
  9. Seems that this post covers the same need as I have. The patters should remain the same regardless if you draw lines in a rectangle, diagonal, or a circle. If you bend the line or you stretch an existing line for example to double its length it should still show the original patterns distances and position relative to the path.. If you add a texture like a checkerboard type it does not work for diagonal lines. If you use a texture like on a graph paper it could happen that a vertical or horizontal line picks up just a line (like „Green only“ in my example)- so no „dots“ show anymore. Same applies to textures in form of circles or 45 degree hatched lines. If you work with a „frozen“ texture this might look fine at first sight. But the moment you need to stretch that patterned line it gets ugly (like “Stretched“ in my example). So - in a way I am looking for a pattern which follows a given path. Wonder if the affinity team regards this „nice to have“ feature as doable and feasible. Your question … who needs that? In Germany the protective wiring (grounding conductor) consist of a copper lead in a yellow/green sleeve. Usually the drawings for electric wirings are black and white incl. the respective symbols. But the readability could be improved by using color - at least in case of very critical wiring. In brainstorming layouts one could use those dotted lines to mark a specific type/flow of thoughts. In advertising one could have „line-effects“ simplified The attached demo-file was made with affinity photo ... so no real drawing GreenYellow.afphoto
  10. Hi MEB, thanks for your quick help. I obviously was on the right track with boolean but my logic was confused.
  11. Drawing something by rotating is OK as long as nothing is overlapping. I tried a daisy (Daisy.afdesign) and cannot manage that the last leave at 5 o’clock comes on top of the start-leave = 6 o’clock AND remain below the leave at 4 o’clock. It should work using boolean function but what ever I’ve tried … only the wrong portions got cut off. Is there a way to have TWO boolean relations do the trick? The other optien I could only think of would be to apply boolean (DaisyBoolean.afdesign) and cover the not wanted green line at 5:30 via a hand-drawn orange layer. DaisyBoolean.afdesign Daisy.afdesign
  12. One more comment from my side. I was actually involved in logistic myself. I agree - the concept of having a „basket“ for all purchases does really not make sense for your small line. If one cooperates with a third party for actual processing and shipment, the communication has to be absolutely clear. Also within the logistics portion of the supply chain it is required for warehouse management as well as selecting the right transport box to differentiate between single- oder multi-books containing parcels. Those who have the fun, to punch in all the stuff to satisfy SAP-based software systems know setting up a new article requires more than only some key strokes. Just google BOM = Bill of Material and you get an idea. So I agree - by keeping the supply chain lean Serif is keeping cost for its customers best under control. One more comment: I am into computers since the late 1970s (Apple II). At those early times you almost always received one or several manuals with the purchase of software … which were obviously included in the price calculation (ZBasic came for example with 5 manuals). In many cases one did not really need a manual. So at that times users often said, why don’t they stop to include manuals and lower prices instead. And if someone needs a manual it should be offered separately. And that’s what we have now today.
  13. Ok - understood ... so, I ordered the books one after the other. Thanks for your quick response
  14. I like to use your special offer for both workbooks = Affinity Photos and Designer hoping to save on shipping. And I would only have to be ready for ONE delivery. But the moment I add the Designer book the Photo-version is gone. So ... I cannot get both books in my shopping basket. What's the trick?
  15. You are probably right - that the max Value of 64 GB includes true RAM and swap. So far I was used (in Photoshop and other programs) to adjust the RAM separately from the cache. Because the RAM setting influences how much "air" ist left for other apps. If you allocate only 8 GB RAM to Affinity Photos you can allocate swap-space separately then you can still open huge file without affecting other apps. In the case of affinity photo you have only the choice. Example: If I want to load 36 GB of files in Affinity Photos fpr no other program is RAM left. If I load 32 GB in programs with separate swap-mangement, I could load 1GB in RAM and 31 GB in swap = leaves 15 GB to other programs. This is surely an exaggerated example. In reality you would probably have no fun to work with such a set-up. Anyway - I was just looking for a confirmation of my assumption. So far there is no really anything I am missing in Affinity Photos compared to Photoshop (which I had been using since 1982 before I left Adobe software )
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