h_d

Hi @IThinkItsMatt and welcome! Rather than using the pen, you could make the job slightly easier by drawing an equilateral triangle shape and duplicating it across one row, then duplicating the row, then duplicating two rows etc down to the bottom, then duplicating the whole chunk, and rotating the duplicate 180º, and aligning the duplicate with the original. (You could also "power duplicate" - search the forum or post back for more help.) But to create a "random" fill on all the triangles would need some sort of script, and Affinity apps aren't scriptable. And I put "random" in inverted commas because your original pattern isn't actually random: you never have triangles of the same colour adjacent to each other, so the pleasing colour distribution is probably human-designed. That would need some complex programming... The "darker at the bottom" bit is relatively straightforward - search these forums for "gradient tool" or post back if you need more help. Cheers, H

<mac_stuff> The "Red button" isn't an "Exit Program" button If you have a document open, it will close that document, and the Affinity (Photo or Designer) user interface. But it will leave the program running and its menu items still accessible. If you close a document using the File-Close menu, or the shortcut Cmd-W, the Affinity user interface will remain visible, like this: But if you then click the Red button, or choose Close from the File menu, or type Cmd-W, the interface elements will be closed, leaving just the menu bar at the top of the screen. like this: If you click on the File menu at this point you can choose to Open another document: But Affinity Photo continues to run until you Quit. Clicking on its icon in the Dock at the bottom of the screen will not restore its user interface, but it will bring up its menus. There are two ways to restore the interface: one is to quit and restart, the other and quicker way is to open another document through the File menu, by double-clicking an Affinity document in the Finder, or by selecting a previously opened one from the Dock or Open Recent... Some newer Apple apps (eg the most recent versions of Pages, Numbers, Keynote, Preview etc) are intended to quit when you click the red button. (They don't always...). Affinity apps never do this: they stay open, as do most other apps written for MacOS, until the user quits. </mac_stuff> (OT: I once drove through Denmark and nearly had a fit when I saw a speed check sign saying "DIN FART")

You don't say how the Photoplus/Elements method works, but if your "transferable" version involves a selection and a Black and White adjustment layer, then with the adjustment layer selected, you can pull down the Select menu and choose Edit Selection as Layer. This gives a temporary "Rubylith" effect which you can paint on with black (to add) or white (to subtract). Clicking on the background layer will remove the "Rubylith" and take you back to the selection marquee.

Are you using MacOS, or Windows? On Mac, just open the folder where the templates are kept, select one and press the space bar to enable Quick Look. You can then scroll down using the arrow keys on the keyboard and the view will update with the selected file. Not sure if there's a Windows equivalent...

You can make bake your own. Draw two rectangles, the lower one for the "doughnut" and the upper one for the "hole". Select both in the Layers panel, then go to the Layers menu - Geometry - Subtract. Save it as an Asset for future square nomming.

One other difference is that if you buy from the Mac App Store, the Affinity apps allow Family Sharing for up to six family members.

You don't have to on Mac - but if you don't, you're left with a coloured vector shape on top of your image. As an alternative, you could hide the Curve layer after creating the selection.

It's one of the XMP tags which can be embedded into PDFs and other document formats, linked from the page you quoted. If it wasn't a valid tag, then ExifTool wouldn't write it. APub seems to be treating it differently though, which is clearly useful for your purposes, but may not be for those trying to use the full extent of the EXIF data

I can see exactly what you mean @JeffreyDriver, and this doesn't solve your problem entirely, but... The pen tool in Affinity Photo is, as I understand it, geared towards drawing vector shapes or "Curves", not "Paths" à la Adobe Photoshop. The help page for the Pen tool explicitly states that the Selection button "converts the shape into a selection" - that's the way it's meant to work. I can think of a workaround but it's probably not ideal for you. Give the Curve a fill (I think it has to be a solid colour), drag the Curve layer below the image layer, then Cmd-Click (Mac) on the Curve thumbnail in the Layers panel. This will create a selection from the pixels in the curve, while leaving the curve intact. But admittedly it doesn't save a lot of time. ADD... Affinity Photo is, I think, more geared to using direct selection methods to isolate image elements from backgrounds. If you use the direct selection tools as opposed to the pen, you can save any number of different selections as spare channels, and reload them as required.

It looks as though the "Revision" field is only visible within Publisher (in MacOS 10.15, at least), and not in exported PDFs. In exported PDFs, it's not displayed in the Finder Info panel, in Document Properties in Acrobat Reader, or by running the file through ExifTool. However, "Revision" is a valid EXIF tag, and I can successfully write a value for it to the pdf using ExifTool, although it's still not displayed in Finder or Acrobat Reader. And the Publisher "Tags" become "Keywords" in the pdf's EXIF data. Could this be a bit buggy?

Ah but I didn't create them - I duplicated my "Master" artboard four times, and each duplicate was created immediately above the "Master". At the end of the process, 1 is at the top, followed by 2,, then 3, then 4, then "Master". I should have been more careful with my terminology in my original post. If I create new layers as opposed to duplicating them from one original, then they do indeed appear in the order 4, 3, 2, 1 MacOS 10.15, AD 1.7.3

You can set up an artboard to the same size as your document, create the master elements on it, rename it to "Master", then duplicate it as many times as you need and rename the duplicates to "Page 1", "Page 2" etc. The duplicates can then be edited, but as @walt.farrell says, any subsequent changes to your "Master" won't be inherited on the duplicates (unless you get very clever with symbols). And as far as I'm aware you can't automatically number the pages. Here are the "Master" and "Page 4" artboards expanded to show the layers within them: When you come to export, select all the artboards in the Layers panel with the exception of the "Master", and in the export dialog under Area choose "Selection without background" or "Selection with background" according to your needs. One odd thing is that in the document above, I created the "pages" in the order 1-2-3-4. But in order to get them to export in the correct order, I had to rearrange the artboards in the Layers panel into the opposite order: 4-3-2-1. The position of the "Master" isn't crucial as it doesn't get exported. All in all, AP. has a lot more options when it comes to multi-page documents.

On a Mac, you could also draw a coloured rectangle once (not strictly allowed I know), then close and save the document (say as "blue background.afphoto"). Then in Finder, locate the .afphoto document, display file info and under General tick the Stationery pad box. The original blue background file is now a template, and whenever you open it you'll get a copy with the blue background already in place. You can even recolour it without too much trouble.

Hi and welcome! I've only tried this with an "artificial" sky field set to your colour spec (R90 G75 B78), but a Brightness and Contrast adjustment layer with the blend mode set to Colour Burn may do the trick: Screen Recording 2019-11-23 at 16.15.43.mov I suspect there are lots of other ways...

For sure. <AppleScript>

It's worth taking some time to learn how to use adjustment layers. Apply these to the base image, using masks on specific areas if need be, rather than creating different versions of the same image in different layers. The official Affinity tutorial videos are excellent on this. It might also be worth posting the original image out of the camera for others to take a look at...

Quite. But @walt.farrell is correct in pointing out that in the Windows online help, the Mac modifiers are wrong or confusing: there's one wrong symbol, specifically \ instead of ^ for control; there's alt instead of the ⌥ symbol, which may flummox people with option on that key; and the last line uses Ctrl when it should use the ⌘ symbol or quote Command. My point is that only a vanishingly small number of Windows users are going to bother with the MacOS shortcuts. Life's too short...

I am definitely seeing the square glitches reported by @markhartphotography They are less prominent in the original .afphoto file, but in an exported .jpg they're glaringly obvious. This is a grab from my . jpg export: I'm on a 2018 MacBook Pro, 32GB RAM, MacOS 10.15 Catalina, with an AMD Radeon Pro Vega integrated GPU (though I don't believe Affinity Photo is actually using the card - that's another issue...) All very odd - the green glitch on the wing mirror in the export is red when I view all layers of the .afphoto file; some of the glitches in the .afphoto file appear and disappear depending on which layers are made visible. Converting to CMYK produces even more horrible results - dark blue squares all over the image. I've also tried merging all the layers down to one and exporting, but the problem persists. I fear though that because of the way the original has been edited, there's little or no chance of working out when, why or how these glitches were introduced. There's no history, and all the edits on the individual layers have been made destructively (or flattened). There are basically five different images in one .afphoto document, and no way of telling which derived from which, or what edits were done on which. Hopefully someone from Serif will have an idea...

Bring it back...

They're doing something clever with browser/OS detection. I guess if you're on a Mac you'd be less likely to take in the Windows info, and vice versa - except in the context of this thread - so the general reader would probably not be bothered about discrepancies in the description of the "other" OS.

The "alt" key on a Mac is sometimes labelled as the option key, especially on more recent UK keyboards (and probably European as well - I believe it's always been "Option" on US models, but don't quote me). My 2012 MacBook Air has alt, my 2018 MacBook Pro has option. Both are UK models. So if Apple themselves aren't consistent, what hope is there for the rest of us? "Left-click" and "right-click" are Windows/PC-based terms. "Left-click" on a Mac equates to an ordinary single click on a standard Apple mouse or trackpad. "Right-click", or secondary click, is control-click with mouse or trackpad. With a trackpad, you can also use a double-finger click as a "right-click". These last two are defaults and can be reconfigured in System Preferences. As far as I can see the online Help page linked by @walt.farrell uses the modifier key symbols (⌘ for command, ^ for control and ⌥ for alt or option) rather than describing them by name: And the MacOS tooltips don't use the names either: .

She's a she! (And it was her predecessor, sadly no longer with us, who carved up the sofa.) Kiki is innocent (until proven guilty).

Also worth remembering that just transferring the com.seriflabs Application Support files won't necessarily transfer application preferences; application saved states; Finder prefs for opening files (eg I have mine set to open .jpgs and .tiffs with Affinity Photo, default is Preview); or system Security and Privacy settings that relate to the apps: These are transferred by Migration Assistant along with your other user settings. Of course you can set them all up again when prompted or needed, but it's a bit of a trade-off against the undoubted glacial progress of Migration Assistant.

It might be worth experimenting with the different blend modes in the Recolour Adjustment.

I would use a Recolour Adjustment Layer nested into your lines layer. It leaves the lines untouched and let you change the colour repeatedly. You may have to increase the lightness a bit. Adjustment turned off: Adjustment turned on: