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JET_Affinity

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Everything posted by JET_Affinity

  1. Macro, unlikely. Too many variables. Although Windows applications tend to refer to Visual Basic scripts as 'macros', generally speaking, a macro is just a recording of a sequence of individual performed operations or commands provided in the standard interface, like so-called Actions in Adobe apps. The sequence would likely be different for every piece of artwork, thereby negating the advantage. Scripting, on the other hand, maybe. But that's far more ambitious. A good scripting implementation provides for variables and conditional logic. But the operative phrase here is "good implementa
  2. As I've suggested in similar contexts: Commands should be provided to convert any path to either a cutting path or a marquee selection (with a Boolean option for 'contact' as opposed to 'surround'). JET
  3. For those not familiar: Illustrator's awkwardly named Merge performs two basic Boolean operations in one move, based on their color: It Unions touching (abutting or overlapping) fills of the same color. It Punches (subtracts) overlapping fills of different colors. (Frontmost punches others). So it results in the minimal individual paths around visually contiguous regions of the same color. One common real-world use case for this is when preparing a design for cutting from sign vinyl. In that common workflow, you don't want any cuts across same-colored regions, because
  4. For clarity, I certainly hope no one is asking for this to be a default behavior. I do not want an endNode of a path to auto-join to another path just because I drag it to within pick distance of another path's end. There are countless situations in illustration in which one draws coincident paths that should not be joined. Look no further than paths of different weights, color, or other style attributes that nonetheless need to have coincident ends. What about when more than two endNodes are coincident? How is the program supposed to know which path I would want it to auto-join to?
  5. There is a lot of functionality in a dedicated standalone cutting application, too. As for steps 2 and 3; no. That's what enables me to use the single familiar cutting / driving application with all the vector-based drawing program I have, and to use files provided by others outside my shop. But again, the primary advantage is avoiding mission-critical dependency upon a single drawing software 'host' for the plug-in. JET
  6. This is why you're really better off using a separate standalone cutting software to drive your cutter, rather than using a plug-in that traps you into dependency upon a single general-purpose drawing program. My cutters are Rowland. But if your hardware is Graphtec, have you not looked into one of the Graphtec Studio applications? With a separate cutting-prep application, you can use whatever drawing software you want, so long as it can export to a common vector file format that the cutting application can import. In the case of Affinity, that would be SVG, which is indicated on Graphte
  7. twopointoh, The development of Affinity applications is being openly shared with the user community in the Beta section of this forum. If you download the current beta, you will find that an offset offset path function is among the things under current development. JET
  8. Live Text On A Path cannot actually be saved in a PDF. When you save a file as a PDF from Illustrator, you have the option to Preserve Illustrator Editing Capabilities. If you have that option turned on, Illustrator stores a full native copy of the content, stashed away in a 'cordoned off' area of the PDF file. That's why 'PDFs' saved that way from Illustrator are so much larger than if they are saved without that option on. If you then re-open that 'PDF' in Illustrator, Illustrator doesn't open the PDF content; it opens the stashed-away native copy. That's why the Text On Path object is
  9. Michael, This thread is about an envelope warping feature. If you search for "Extrude", you'll find other threads pertaining to what you describe. Those threads are about 3D features. An extrude feature to "make a 3D view", for which Michael is relating to the Isometric Grids feature (2D construction), is not about a 3D modeling feature. Extrude features like in CorelDRAW and other programs are 2D constructs and therefore not ruled out by the Affinity team's responses that Affinity will not have 3D features. JET
  10. Since this is the "General Query" thread: Does anyone know when the extra batteries for my DeWalt chainsaw will be shipping? Thanks in advance. JET
  11. Feature requests need pro and con discussion and clear behavior description. Someone says "Please add a Live Paint Bucket Tool!" because the only other drawing program they're familiar with is Adobe Illustrator and they seem to think "Live Paint Bucket" is some kind of universally understood generic industry standard 'feature in a box' that a development team can just pick off a shelf somewhere and plug it in, when it's just Adobe's proprietary name for its own particular implementation of what is generically known as a flood-fill feature. So would the voting 'ballot' list four (or more)
  12. Illustrator, for example, has always been awash in old fashioned modal dialogs. Correct. Interpreting the referenced article as 'putting an interface in modes is bad practice' is too broad a generalization. Working with Affinity's axonometric grids feature effectively puts all the tools in a different 'mode.' That's certainly not a bad thing. FileMaker Pro's interface has four modes: Browse, Find, Layout, and Preview. In Browse Mode, data is worked with in either Form, List, or Table views. One of its claims to fame is that its UI is arguably the most approachable in the data
  13. Two results encountered when moving a node close to another: Using its demo Pen Tool, I drew this by dragging out three 'nodes': Of course, you can't get that shape from three conventional nodes (2 segments). Look closely and notice that the solid and dotted handles of the green node are not parallel. The solid handle is not tangent to the segment that one assumes it controls; the dotted handle is. I understand; this is intended to be a new and innovative interface. But is it intuitive? Tracing over it, try to draw it in Affinity (or most any other mainstream drawing
  14. I hope someone noticed the motorcycle chain and tire tread in my two-decades-old Trials font. You know our shared disappointment of Affinity Designer's 'Vector Brushes' not really being what everyone expects vector-based brushes to be? Do you see the at least partial functional correlation between Illustrator's Pattern Brushes and what can be done with a custom dingbat font (which is entirely vector-based) when applied to text bound to a path? JET
  15. I'm a life-long motorcycle guy. One of the things I've always admired about Honda is the way it has historically created its own demand for the things it builds. Another little company known for that is Apple. Suppose I create an identity package for Acme Coyote Co. It includes a logotype and several stylistically matching related dingbat graphics such as explosion bursts, dust devils, a road-runner's footprint, etc. In CorelDRAW I do not "still have to create fonts separately outside of the logo design." I can export those individual graphics directly from CorelDRAW into specific charact
  16. It's still there. Type 1 format, too. Screenshot of CorelDRAW 2020's export dialog: Even though Fontographer 1.0 was actually my very first exposure to Bezier-based drawing, I've always applauded Corel's inclusion of this. It can be a wonderful thing to have in a drawing program; not necessarily for full-blown typographic fonts, but for monospaced 'clipart' fonts. It's always been quite common for the actual glyphs of fonts to be drawn in mainstream Bezier-based drawing programs, even when the font file itself is built in a full-blown font program. So, like Corel, why not provide bar
  17. Simply providing the measure of straight segments would be already sub-standard. No, it's not as simple as the Pythagorean Theorem, but we're one-fifth into the 21st century. Length (and area, frankly) should be shown for any path, as it is in competing software. JET
  18. My interest in true vector-based brushes is not to emulate 'painterly' strokes, but to more powerfully leverage the base purpose and advantage of vector-based drawing in the first place. As always, this is definitely not exactly what I have in mind, because I want something better. Shown are just two of my own Pattern Brushes collections; hex head bolts and springs. Each Brush can turn a single-segment straight path into a bolt or spring of any diameter and any length with a single click. However, building such constructs is much more tedious than it should be for several simple
  19. Again, climb down off your friggin' pedestal, mister 'professional.' You don't know diddly about the careers of other people here. Since the Affinity programs are just for poor rank 'beggars' so beneath you , why are you wasting your time here, incessantly spouting your ridicule? How does someone of your obvious (because you say so) time-is-money 'professional' status have a productive moment to lose dinking around with a $50 program that's obviously going nowhere (because you say so)? JET
  20. Right again. So-called 'enterprise' applications (ERP, PLM, etc., some costing a company literal millions of dollars) are commonly just very vertical-market targeted solutions built by relatively tiny companies. Yes, they are typically built upon a robust database development platform but nonetheless commonly have cumbersome 1980s-era interfaces that constrain users to inflexible, clunky, even non-standard tedium that doesn't come close to the modernity of products built by developers of mainstream, blister-packed, over-the-counter software. That's why so-called 'middleware' is a growing segme
  21. Correct. I paid $650 for the first three-color (CMY; no K) HP Color Deskwriter and thought it was a 'steal' at the time. Nowadays, of course, far better printers using the very same underlying technology are sold at or below cost just to sell customers the ink cartridges. I paid around twice that for my first 35mm transparency scanner. As I've said elsewhere, the pricing schemes of Adobe Illustrator, CorelDraw, and Canvas are long outdated. 2D Bezier-based drawing isn't rocket science anymore. But the old vendors are still clinging to the pricing models of the 80s, when it was all new.
  22. Sounds very like every dismissive comment I heard from the sales execs of pre-press 'color houses' in the 80s from across the client-stroking luncheon table whenever the topic of Macs, Postscript, and desktop applications came up—the beginning of the time frame during which color houses started dropping like flies. JET
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