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thomaso

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  1. Just in case: Do you notice a different file size in two exports with 80 vs. 100%? If not: If you set the quality value numerically, make sure you press the Tab or Enter key before clicking the "Export" button. Otherwise, a previously set value indicated by the slider position may be used for the export instead.
  2. What software do you use to get the compression quality displayed? (APhoto and the ExifTool apparently do not)
  3. Alternatively to a gradient as fill colour for the drop you can apply a solid, white fill + the layer effect "Inner Glow". It gets placed at the drop's edge and doesn't require a specific definition and positioning like a gradient. But, also different to a gradient, a layer effect will always cause rasterisation on export.
  4. And what happens once you plugged the reader + inserted the SD card? – What did you do when the SD card appeared on your desktop or in a Finder window? Which app did you use, what file path did you choose … ? • Possibly you used this application: https://support.apple.com/guide/Image-Capture • Possibly your default file path for images is your "Pictures" folder (which gets created by macOS on every mac). To jump to this folder: 1. Copy this coloured text: ~/Pictures 2. Switch to the mac "Finder" application. 3. Press Command-Shift-G on your keyboard. 4. Paste the copied text into the opened dialog. 5. Press the "Open" button (or the "Enter" key on your keyboard). 6. Your folder "Pictures" will be opened. Since you did not ask a question it is unclear if you expect to get help by your created forums topic – or if you rather just want to complain about your mac. So, if you have a question to the Affinity forum, just let us know.
  5. In a 2D application like Affinity, this can be an unsolvable approach because the Z axis is missing as a property specifically of vanishing point perspective. For this reason, you are forced to simulate this dimension with lines at varying angles, while each single subdivision guide and illustration line max require a different, unique angle. And this is also the reason why various hints to 3D / CAD apps were mentioned occasionally in your threads about snapping and technical / construction drawings. (for instance)
  6. If you want to know: I started the search with the found snippet in my first 3 test files that obviously referred to scaling and occurred in every file. In the resulting search list I chose the first which did not say "how to" or referred to website design / CSS but was titled as "SVG Reference". From that page I continued the search via the browser page search option as I noticed this page lists keywords from a-z (v) on one page which let me assume it will contain further "reference" to e.g. "transform" or "matrix" on the same page. Possibly now you would argue, before I picked / read that page I should have "just" searched for the term "element" to be able to know if "transform" or "matrix" are elements or properties or expressions or attributes or commands or … and differ from terms like e.g. "style" which concerns a visual appearance, e.g. colour, without being an attribute … etc. … and, in short, that I should be an expert before asking a question to avoid triggering you to response. Would it help if you ignore these questions so as not to be bored, disturbed or annoyed and possibly feel initiated or forced to invest your time?
  7. Especially this is the problem when drawing in a vanishing point perspective: each line requires a different angle that is unknown before & while it gets created – but is only displayed afterwards.
  8. It is not that simple. Before posting, I searched for "transform" and "matrix" on the following page, but none of the highlighted results in this list of "SVG elements" (a-z) matched the parameters I had previously found in 7 (seven) "own little test drives" and then pasted above. https://www.w3schools.com/graphics/svg_reference.asp Also, to know that the parameter "d" refers to initial properties of an object is not "just" something to look after (and doesn't appear in your example). As @lepr pointed out, unless one is familiar with SVG code there is much room for miscommunication. Nevertheless, I can imagine that certain, less skilled questions may feel unnecessary or disturbing to you.
  9. Thanks for clarifying. I understand that you want a specific, user-defined, global 'target' (= a single x/y coordinate) already taken into account for the end node when drawing any line. Yes, this would make it a lot easier (or be a condition) for drawing in a vanishing point perspective. Also, this maybe easier if Affinity would have a line tool that could only create straight 'curve' objects (without the Bézier options of the Pen Tool which enable us to change the direction of a curve via click-drag while drawing). Both, a "vanishing point perspective grid" and a "straight line tool" have been requested already in the feature request forum but apparently were not implemented yet. "snapping target": the Affinity UI also calls them "candidates", including bounding box, mid points, curve or node – whereas you would rather need one (or 2-3) exclusive coordinate(s) as possible snapping candidates, ignoring all other objects and coordinates for snapping.
  10. Two or three only? … or additional, intermediate lines via Power Duplicate, as you requested earlier: My last video, and I assume also @Oufti's recipe, concern the creation of such intermediate lines. Also your attached AD file seems to show this task (while I do see the file's preview only in my lack of V2 ability.) Note, you also can set a position, lengths and angle for a straight 2-node-curve via the Transform Panel, without the need to zoom in/out (which appears to be the part you want to avoid, correct?). If you set the anchor in the Transform Panel accordingly you can distinguish between start and and node of a line without the need to have this node only selected. The efficiency of the various options may also depend on your entire setup, including the final illustration you want to achieve. Any forum's comment can be more precise and matching if you upload a screenshot of such a scenery. (I know you attached an AD file / unfortunately I can't check its full content in V1) I used 'snapping target' as any element that may get snapped, usually but not necessarily by another object. The snapping options listed in the "Snapping Manager" dialog and in the 5 "Snap" buttons in the Context Toolbar are 'snapping targets" in my understanding. (While a Transform Origin can't be used as a snapping target for other objects).
  11. In case you refer to the part <svg width="100%" height="100%">, this "100" do not change to me in an exported SVG of a two-node curve scaled via entering *200% in the Transform Panel. I wonder if these two svg parameters rather would/could be used to scale during export (… like we can set a scaling value in the Print dialog). If you refer to the part <g transform="matrix(…)>, it appears to reflect the last applied scaling value but not the initial, original value of object creation. Interestingly this parameter is maintained in an svg export even if the document got saved (or saved-as new file), closed and reopened (…with "Save History" disabled when saving).
  12. @Oufti's recipe with 'snapping targets' as separate, additional objects remind me to the option to align nodes of several objects evenly, so for instance all start or all end nodes of your power duplicated lines. By aligning their nodes you don't need to care yourself for the differing, varying angles between the bottom and the top line you want to start with. align nodes.m4v Your question regarding work area or pasteboard doesn't matter in my eyes, you can move the entire set of lines or do the alignment anywhere on the pasteboard. To visually limit a final set of very long lines to a certain lengths you can nest them in a clipping rectangle. However, I still think this way to create a drawing in this perspective maybe rather cumbersome than comfortable.
  13. To me the video doesn't seem to show any special tool or feature. The woman's shape does not show a "selection tool" but a handmade drawing with the Pen Tool. This is a basic tool in all three Affinity apps, in V1 and V2. -
  14. If I understand right, your 'actual' goal is to create a (snapping?) grid for a later drawing in a vanishing point perspective. Though you could easily create nearly any density of lines with Power Duplicate, as demonstrated above by @G13RL, I think it wouldn't work well because either the density of lines is too low (and thus is missing some guide lines for a later drawing) or too high (and thus snapping at too many lines). Instead, it may work to first draw with a different perspective (and using one of the built-in Affinity grids) and then, once you have completed the illustration, bend its parts as groups to the desired perspective using available tools such as APh's "Perspective Tool" or, for vectors, the "Warp" feature in AD v2. This video shows the possible problems = required grid complexity for drawing in a vanishing point perspective in AD v1 : https://youtu.be/FE8bTRzdurk?si=zXcm0P3_9fW_EEJM This video demonstrates the use of the "Warp Live Filter" in AD v2: https://www.youtube.com/watch?v=0-FMHmV_fFc In case your goal is a correct / perfect drawing in a vanishing point perspective you might consider to use a CAD application that enables you to choose the perspective. This reminds me to your recent thread about Affinity snapping issues in a technical drawing / construction:
  15. Are you referring to your uploaded PDF with "this problematic heat map" ? This was a raster image, not vector. The issue appears to be triggered by the extreme pixel distortion of stretching (horizontal) + compressing (vertical). Vector wouldn't get affected by scaling in such a way, – apart from possible moiré pattern on a monitors hardware pixels when rendering content in certain dimensions or angles.
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