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h_d

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Everything posted by h_d

  1. Hi @Harrie and welcome! You've uploaded your diagram as a Keynote presentation which means that the many PC-using members of this forum won't be able to open it (unless they have iCloud). I've taken the liberty of uploading a screenshot: Hopefully someone will come along and help with the algebra - it's beyond me! Cheers, H
  2. It looks as though you've converted the original call-out to a Text Frame. That's why the layer, when selected, is labelled Shape Text. (There's no text in it, the white text appears to be in a separate frame.) You'll need to use the Text Frame panel (View-Studio-Text Frame) to change the colour and stroke settings of the speech bubble: Alternatively, don't convert the call-out bubble to a text frame at all, just keep the text floating over the top. That way you can change the colour settings of the bubble in the way you're trying to in your video. Cheers, H
  3. Like @Joachim_L I am old and need glasses, and like him I too cannot see a white border around the rectangle. Could you upload a screen grab?
  4. It's not an ideal subject for vector art, but one possible way is to use an image of a paper texture as the bottom layer, then draw shapes with the pen tool for the green areas above, choosing a vector brush for the stroke to give the slightly uneven effect. I set the blending mode of the green areas to Average, and I had to adjust the opacity of the fill colours (not the layer itself) to match the opacity of the brush I used for the stroke. This is by no means perfect, but could give you a start. Cheers, H
  5. Hi @Azarna and welcome! You would need to create your document as single pages, by unchecking Facing Pages in the new document dialog, with the page size equivalent to your desired spread size, rotated 90º. For example, a publication with double spreads of A4 portrait would need to be set up as A3 landscape. You would then place a page number field on the left and right edges of the master page(s). This is the result: Hope it helps! H
  6. Here's one way... The font isn't a perfect match by any means - I've used ACaslon because it's got that classic look, although it's not as distinctive as the font in your photo. Ideally you'd need finer and more tapering serifs to match the weight of the underscore. The initial 'M' is in 30pt, the remaining letters are in 24pt, given a baseline adjustment of 4.3pt in the Character Panel, Positioning and Transform: The rule is not a text underline but a line drawn with the Pen tool, set at 0.5pt and positioned to align with the baseline of the initial 'M'. Depending on the font you might also want to adjust the letter spacing. Hope it helps, H
  7. Click into the box (highlighted blue below) and type the shortcut that you want to use: You'll get a yellow triangle as a warning if your chosen shortcut is already in use. (This function is only available in Affinity Publisher, as it's the only Affinity app that allows text to flow from one frame to another.)
  8. Hi @ambcreative and welcome! As far as I'm aware there is no way of setting the angle of a Conical (or any other type of) gradient to precisely 30º using Affinity Designer's Fill Tool alone. You'd have to set the angle by eye, or for absolute precision, switch to a Horizontal Triangular grid layout, snap the centre point of the square to one of the grid vertices and snap the gradient divider to the diagonal: Cheers, H
  9. The closest thing I can see is to draw an empty image frame, click the Properties button in the Contextual Toolbar, and choose scaling and Anchor options: Click Done, give the frame a stroke if required and save it as an asset. You can now drag the asset onto the page, Place an image inside, and the scaling and positioning of the image will match the settings you gave the original frame. Not sure if it's a complete solution, hope it helps. H
  10. A slight variation... Rasterise if necessary as @Alfred says. I then used a fairly strong Levels adjustment, dragging Black right and White left to even out any colour variations in the red: Then click on the red area with the Flood Select tool. (When I initially tried on uploaded image, I was getting a lot of half-selected pixels - hence the step above. It may depend on the Tolerance settings for the Flood Select tool.) From the Select menu choose Outline. Set the Alignment to Inside and adjust the Radius as required: Click Apply, go to Select and choose Invert Pixel Selection. Press the Delete key. Deselect. Cheers, H
  11. A slightly different way... Not quite sure what you mean by "remove the top of the square", but this may help: Convert the square to curves. Switch to the Node tool. Click on the top left node of the square to select it. Click the Break Curve action in the Contextual Toolbar. Press Delete to remove the top of the stroke. Still with the Node tool selected, drag over both top nodes to select both of them. Drag the nodes up and down (I used the arrow keys). Screen Recording 2020-10-19 at 07.52.47.mov Cheers, H EDIT - just to add, if you switch to the Move tool you can adjust the shape as normal, including resizing, rotating and skewing.
  12. You can alt-click on an individual object within a group to select it independently, and then move and edit it without modifying the other grouped objects. This avoids having to select it in the Layers panel.
  13. One way is to duplicate the shape, set its fill to empty, give it a dotted stroke and make it slightly smaller than the underlying shape: The above is a bit rough and ready, but can easily be refined. I've attached an .afdesign file. Cheers, H stitches.afdesign
  14. One quick and simple way to make the entire image paler is: Draw a rectangle over the top. Set the colour of the rectangle to white. Set the opacity of the rectangle layer to whatever you think looks right. You can then export the image in your required format, or choose Flatten from the Document menu to make the changes permanent and destructive. If you want to run text over the whole image, though, you're going to have a problem with the tonal range of the original. The fence, the trees and the front of the locomotive are all very dark, and if you make them pale enough for black text to be visible on top of them, the lighter areas like the sky and the ballast are going to become very bleached out. Cheers, H
  15. Hard to describe in words, but group the red lines and drag them over the orange shape as shown below: Screen Recording 2020-10-18 at 00.56.28.mov Check on the highlight in the layer panel. It's not intuitive or straightforward but the highlighting from just away from the left-hand edge all the way to the right-hand edge of the orange layer means you're doing it right.
  16. EDITED You're going to need to remove the linked text on pages 10-11 before you can flow on from page 9. Steps: Select text on pages 10-11. Cmd-x (Mac) to cut it. Link the text frame on page 9 to the text frame on page 10. This will flow the text from page 9 to page 10. Click at the end of the text on page 10. Paste the cut text back in, after the flowed text from page 9. (Gratuitous bit of proofreading: it's "Breathe in", not "breath in".)
  17. I don't know if this will help or not, but I downloaded the trial version of Watercolor Studio, ran the app, and then quit. Without doing anything else, I then had access to the plugin in Affinity Photo. I just wonder if it's possible that you have to quit the JixPix app - which you seem to have running - and also quit Affinity Photo, and then restart Affinity Photo, before you get access to the plugin. (I know, it's "Turn it off, turn it on again", but it may be worth a try if you haven't done it already.) As far as I can see your settings in Preferences are correct, but for what it's worth, on my machine the plugin is installed in Macintosh HD/Library/Application Support/Adobe:Plug-Ins/CC/JixiPix_Plugins/ The single "/" character in Affinity Photo's Plugin Support should find that.
  18. You've added the Gaussian Tool, the Affine Tool, and some horizontal separators, none of which is displayed by default. And you've adjusted the positions of quite a few of the default tools. So you must know what you're doing...
  19. I've never imported or paid for any other assets @LogoLogics - I think I would tend to use the Assets panel as a 'library' for my own designs. I suppose the downside of any paid-for assets like those you've linked is that they could look derivative rather than individual. Cheers, H
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