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Everything posted by Sunset

  1. Anything is possible, I was working to a tight deadline, I hadn't done a flowchart since college in 1973 so I created my own symbols, it is possible I also flitted between my desktop Windows and my Macbook - all of which I love being able to do with Affinity. And, although I'm 'absolutely certain' that I opened the afdesigner file from the 'Open Recent' menu today - perhaps I didn't! Thanks for checking and forwarding it to the developers. I've fixed what I needed to do, job is done ahead of schedule, I'm happy. Hilary
  2. Thanks, I confirm that I opened the .afdesign file, the PDF file was only for sending by email to others, Font - interesting, all the 'changes' were in one text box only, and I can't tell whether that is relevant or not, but the font used was calibri regular 10. No changes have been made to the fonts on my system in the relevant period. The document is of a slightly sensitive corporate nature, but I trust the staff at Affinity to recognise that. I'll send the file as requested. Note - I had already correct some errors on chart 4, starting with 'newsletter' at the bottom of the page and working upwards).
  3. A closer look suggests that most of these 'translations' involve limited combinations of letters such as 'ting' in existing and printing; 'tion' as in option, and 'till' as in still. Must get the job done, though, deadline looms. Hilary
  4. I created FlowCharts using Artboards with Affinity Designer, very easy and successful. The text was in English, I saved copies in AF format and as PDF. The PDFs were printed and all the text was, as expected, in perfect English. I have just reopened the file in Affinity Designer to incorporate suggested amendments, and notice that some letters in some words have been replaced with symbols that I don't recognise. The attachment shows the 'new' version of what I typed - and I checked the previously printed copies which confirmed that this change has only occurred on re-opening the file today. The text was entered as: Limited information to branches, e.g. advertising meetings b.... Foreign membership number queries... I checked the language in preferences and it was set to English (United States), I have just reset that to English (United Kingdom and (not surprisingly) the foreign symbols are still in the text. This means I have to check the spelling in 14 artboards/flowcharts, thankfully the red underlining will help. Any ideas why this happened, please? Hilary
  5. I am learning a lot! I don't need macros and styles much...... but this is good.
  6. The best thing about this thread is that it has been healthy discussion and very interesting. Some of us used Serif's previous software for many years and we got used to the comfort of having some processes 'pre-packaged' - pre-packaged but infinitely variable as to width, length, shear, opacity, offset, blur and orientation (and maybe more), it was so easy that we never had to really think about how a shadow was created, but we knew all about how to get the effect that we wanted and the right effect for the job - as has been mentioned, unless you are doing a series of identical projects, all shadows are different. The interesting thing for me, with Affinity, has been coming out of that comfort zone and thinking about what was in those 'pre-packaged' tools. At first I missed the convenience of the older options and, because I do different things these days, this thread made me look at shearing shadows for the first time - and by time I'd done those very simple examples, I was perfectly at home with it all. I have absolutely loved all the conversations though, from here to the sun and the moon and back again. Thank you to Cailean who asked the question - and welcome to Affinity! - and to everyone else who has joined in.
  7. Very nice, but it is the process that matters. If you follow the light and the red polygon in front of it, then what you see on the layer below is a shadow, not a reflection. It is like looking at your own shadow in front of you when you walk along a road. In this example, though, the shadow is offset from its origin. I could have shown a simple drop shadow of a painting on a wall and the light source creating a shadow beneath and to one side of the painting, but that would not have provided the opportunity to shear the shadow to show the effect of an off-centre light source and the distance between the object and the surface on which the shadow would appear.
  8. I also believe that drop shadow is different from an outer shadow and comes in many variations. To recreate some things in Affinity I think about how they were created in DP, what we had there was a nicely packaged, user-friendly version of drop shadow creation. Here is my view on how to replicate it in Affinity - using copy, colour, shear and a little gaussian blur if appropriate.
  9. A rare chance, lately, to just be creative for half an hour. The result if a mix of two of my photographs - the Albert Memorial outside Manchester Town Hall and a bright, dazzling sunset from one of my upstairs windows. Fast forward a couple of weeks to a very cold day, a little light blending in Affinity Photo, and I now have 'Manchester in the Cold'
  10. Thanks for that. I hope it will be included one day. I can buy vector fills and make my own for graphic design, but I will have to use an older program to get the flexibility that I need. Hilary
  11. Designer - both windows and Mac: Is it possible to create, and use, vector fills? Apologies if this is already asked, I did search.
  12. I'm not up-to-date on this thread, having congratulated the team earlier in here, but I sincerely hope that everyone concerned has an excellent summer break! I am happy to have the best products from the best, award winning, programmers ad designers.
  13. Excellent! (too early in the morning to find a glass of red!)
  14. Thinking about it, the nodes that we used to morph the shadows previously are probably not unlike using the mesh warp, just packaged differently for the user. I do agree with you all - and I did ask for ways of doing it and you all kindly helped out! I never hesitate to ask for a feature that I think would be an improvement, though - who knows, my luck might be in! New ways of working is why I like Affinity Designer and Photo, and I am very much looking forward to Publisher. The previous programs were looking dated and most people were using Adobe or Corel, neither of which I could really afford, but I was happy with Serif and delighted when Affinity arrived. I'm pretty good at working out new ways of doing things - and pleased that I had worked out how to do the shadows, your joint confirmation of the method means that I can perfect that method now with confidence. It was always possible that I was missing something obvious amongst the tools and, apparently, I wan't missing anything at all Happy days! I wonder what my next question will be... ? Thanks again
  15. Craft Artist, the incredibly easy to use scrapbooking software that Serif sold previously. So there are lots of us out there happy to move to Affinity but, of course, there are a lot of differences. And, being human, we get uneasy when we can't work out how to do something "instantly" in Affinity because we're always on a mission, things to do, photographs to scrap, art pages to make... Alfred, I've just checked and there are actually 13 of us, hidden away, a self-help group. With you there would be 14 -if you ever join that particular part of social media. We can't be found in any indexes just because there are plenty of places that are like that.
  16. Maybe not for a shadow or opaque object, but could definitely be used for a reflection on metal or glass - what an interesting thought! I've just been looking through stuff I used to do in the 'scrapbooking' way and all the different skills and techniques we used and thinking that it's time to start doing wacky fun stuff again with photographs You've just given me A Good Idea : The artwork is not my own it's from a scrapbooking kit by a very talented Lorie Davison, wonderful images to work with. I just have to pick and choose and come up with interesting layouts. Thanks
  17. This was my work flow. I duplicated the object, applied the gaussian layer and changed the colour. Then I used the Mesh Warp but it crashed the program (separate thread). When I restarted the program everything was fine, so I used the Mesh Warp again to bend the shadow, applied some transparency, ditched the deer and added extra snow. This was done on the Mac,
  18. Thank you all, Haakoo: the gaussian blur etc is exactly what I invented for myself (so I'm pretty pleased that I invented something good!), I just didn't find it very easy to come up with such perfect shadows - a little practice and I suspect that I will find it easy, it's good to see such a good shadow as an example. Carl123: the method you describe I would never have thought of in a month of Sundays! I have both Windows and Mac versions so I shall have a go at that; thank you also for such a great example. Thanks R C-R - I'll definitely try it on Windows then. To the Powers That Be - we (a group of CA refugees, you'd know all six of us!) would still LOVE to have some extra options to the outer shadow Effect, our workflow would be greatly enhanced
  19. A number of ex-CA users are missing a very important feature, the ability to shear a shadow to the left or the right, and the ability to make the shadow smaller or larger than the original object. This is particularly important when creating a work that shows, for example, people walking or the shadows of buildings in the late afternoon sunshine. The Outer Shadow is good at what it does, but appears to be limited in its options, there is no Shear X or Shear Y that I can find, and we miss the nodes to precisely position a shadow so that it falls on the ground at the side of a person, correctly positioned with the persons feet and shortened or lengthened to be commensurate with the angle of the sun, or other source of light, in the work. I did create a passable effect by copying the object (a child running), applying 100% gaussian blur and changing the colour (I wanted a blue tinted shadow onto snow). Then I used the Mesh Warp tool to drag and shear the 'shadow' object down and to the left, positioning the shadow realistically under the foot. The result was passable, but it helped that I was placing the shadow onto a lumpy snowy ground so I could get away with imperfections. Is there a way of fine-tuning shadows? If not, can I add it to the Feature List (I have looked through but didn't see anything)? Hilary
  20. Certainly, I think you might be right because when I restarted the program it worked without any problems, I assume that at that point it was effectively starting the mesh warp 'with a clean slate' regarding memory in the cache or whatever the more technical term might be. I'll try it a few times and if I get the issue again I'll let you know. Thanks for replying.
  21. Using Affinity Photo 1.6.6 on MacBook Retina Pro 15" late 2013 Running Mac OS High Sierra 10.13.2 updated about two days ago. Created a document in Designer and saved. Opened Photo and opened the same document Intention, to create a shadow from a duplicate of the object that had 100% gaussian blur applied, colour changed and opacity reduced. Used the mesh warp to reshape the shadow. At one point the square that bounds the mesh warp grid opened (no top line); after that I could not make any more changes to the object. I had been able to undo some actions, but then the undo action stopped working. I tried to close the document (intention to close without saving and start again) but I got the busy revolving icon and a lot of noise from the processor. Eventually I had to Force Quit the program. Apple created an error report which I'm attaching. I have no idea whether an Apple error report is any use to you or not. I reopened Photo and the document is on the screen as it was when the program crashed. I have tried to reshape the object and this time the mesh warp has been successful. Hilary AP Crash 2017 11 20 ish.pages
  22. It's good creative structure, I've never had a liking for making random stuff - whether the creative thinking initiates the process or comes along after reading a thread or looking at last years photos in the photos folder doesn't matter, there's always a back story. The outer shadow effect I'll guess you're already using, might be an idea to start with a very short radius blur with no offset to see if that separates the letters from the background paper and then tweak the offset and the direction as required on some letters. If he's using scissors then the edges would be straight anyway. If I was making the ransom note I'd go out of town or mail order and get a publication that was as far as possible from my usual tastes - pig farming weekly, or something like that, and tear a page out of that for the background - or I might want something more scary like a page from Sherlock Homes to give the idea that I was 'on the case! A lot of fun, whether you finish the project or move sideways onto something else.
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