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About LCamachoDesign

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  1. Tell me about it... I'm really loosing patience with these companies that produce tools but have no actual idea of how customers use them... Illustrator has global colours on the iPad, which seems great, until you realise the editor UI to tweaks those colours covers THE WHOLE SCREEN. What were they thinking? The main reason to use global colour is to tweak and compare different colours in real time, by looking at how the work within the illustration. How are we going to do that if the UI covers the whole screen??? Ugh...
  2. I was waiting for the actual 1.9 beta to come out before posting this, but since it doesn't look like it's coming any time soon, I might as well post it in advance. Even if work in the UI has already started, I still think it's relevant to post this. If for nothing else then to make sure you avoid doing the global colours editor UI in the same disastrous way Adobe did with Illustrator for the iPad released today. To avoid the above you must understand one thing, the whole point of global colours is to finely tune the colours of our illustrations, in real time. This means you must see the colours change within the illustration as you tweak the swatch. As such you must do your best to avoid obscuring parts of the canvas, no full screen editors please. Another point with these mockups is to create them reusing as much of the existing UI as possible, so the amount of work needed to create this is reduced. This is a critical feature that has been missing for way too long, let's not delay it any further by requesting unique UI elements just for it. With that out of the way, let's get started. 1. The first step in editing global colours is to actually have some. For that you need to have a way to add them to the colour palette. A simple 'add global colour' entry on the existing flyout menu will do. The swatch will be further tweakable down the line, so this is enough or now. 2. Now that global colour swatches exist, you must be able to apply them. For that you'll need an indicator showing the swatch is applied, a simple blue circle around the swatch will do. This is the same colour as used in many other controls throughout the app. On the next point I'll show these swatches as a grid instead of a list. 3. We must be able to apply global swatches to things beyond simple shapes. Right now we're not able to apply any swatches, even regular ones, to things like layer effects. For global colours to be maximally effective this must change, we need a UI to select and apply swatches to things other than shapes. Here I'm showing how this would look when applying a global colour to a colour overlay layer effect. 4. Now that global colours are applied, we need to edit them. This is where I ran into a possible UI inconsistency issue. What makes sense to me would be to long press a swatch, choose 'Edit' from a popup, and be taken to a panel for that effect like shown in point 5. The thing is, I don't think there's any instance where a popup menu like this takes us to a subpanel? And like I said at the start, if I want to minimize UI changes in order to deliver this as fast as possible... ... so if the above is an issue, then another solution can be used. Instead of long pressing the swatch, we could instead head to the Colours panel and have it behave in a way similar to the desktop version. That is showing a tint slider with a button linking to the colour editor. 5. Time to tweak the actual colour values Independent of the design option chosen above, you'll end up on this panel to edit your global colour. You'll be able to tap the swatch name to change it, and more importantly change the colour values while you keep the canvas in sight at all time. Once you're done you can simple back out into other panels or tap away to close it. Add... that's it. I'm open to take any feedback, and I'm sure the developers would like that too. However, remember that we must reuse as much of the UI as possible, so this critical feature can be delivered as soon as possible. Thanks!
  3. It was explicitly stated. And a speaker mentioned it on one of Adobe's stream. But now that AI for iPad is released, they took out the mentions about this, and indeed you cannot open .AIC files in Fresco or Photoshop. And you can't open .PSDC files on Illustrator either. Also, you can't rotate the canvas on Illustrator for the iPad! I don't even... I swear I'm running out of ideas to explain how companies seem to be able to sabotage themselves like this. 🤷‍♂️ You do get global colour swatches though, but the UI is clunky and badly thought out. So you're right and I was wrong. My bad. 😁
  4. Yes, indeed. In normal work I wouldn't do it as slowly as in the video. I was testing as it felt this was what's causing the issue, and I guessed right. Yeah, I'd say the Surface is the worst offender here and the hardware is partially at fault. The pen is a bit... 'mushy'? It's hard to explain, I feel like it takes longer than the other pens to return to a 'zero pressure' state. Since it takes longer to return to neutral it gives more time to Affinity Designer to pick it up as cursor movement. 🤷‍♂️ Thanks!
  5. I know about the polygon mode, it's a pretty great idea/mode too. It would just be nice if the pen tool were not as sensitive as it is now, so we don't have to switch around as much. That said, turns out this is not a Windows version bug... I've been able to replicate this on the iPad as well, so it's across all platforms. Essentially if you tap and lift the pen on the screen fast enough, you'll always get a sharp node, but if you tap and hold it just a few fractions of a second, you'll very likely get a smooth node. I suppose the Surface Pen is more prone to this as it's less responsive, or at least more 'mushy'? Knowing this enables me to replicate this issue, even with a mouse! All you need to do is click and hold, then even the slightest movement will make the node smooth instead of sharp. It can even be triggered without movement. Click and hold, then if the node location happens to be on a smart guide area like the center of the page, it will become a smooth point even though I have not moved the mouse. As such, there is a bug across all platforms. The pen tool should only create smooth node if you move the mouse/pen device a significant amount of pixels in any direction. The amount of time you have the mouse button/pen tip down should not matter at all to decide if it's a smooth or sharp node. Thanks!
  6. That's what happens to me. I'm unsure about what adds more smooth nodes, going really fast, or going really slow. I can try fiddle with the Wacom settings, but on the Surface where I first noticed this I can't do any tweaks.
  7. Bumping this to know if I'm the only one with this issue? Since it happens on 2 different machine it can't be? I've also updated the Wacom drivers on the Desktop to the latest version (6.3.41-1) and made no difference.
  8. You can copy and paste shapes between Illustrator and Photoshop, and they'll retain their 'vectorness' if you choose to paste as shapes instead of bitmap or smart objects. But they loose any special properties. And you need to do this for each shape individually... meaning potentially copy/paste thousands of shapes individually! So yes, Affinity has an obvious advantage here, and yes, it's technically possible to work between Illustrator and Photoshop. But like I said, the pre-order page of AI seems to imply Photoshop/Fresco will be to natively read AIC files, retaining their 'vectorness'. I guess we'll find out in next week. I hope they added it 5 years ago, since this is a day 1 feature. That's kind of what upsets me, these are not advanced obscure features, it's literally the everyday bread and butter of any vector workflow. 😑
  9. Obviously Affinity has an advantage here. I don't know how fast it will be on Adobe, but it's impossible to beat Affinity here since switching personas takes 0 time. This is not true. Once you move your Illustrator file to Photoshop you loose pretty much all vector information, you can't switch back and forth between them. This is actually a very good question. It's my understanding that's sort of what they've done with their Cloud documents. However right now the .PSDC and .AIC documents seem to be incompatible, or at least the applications will not show each other's files. However the pre-order page for Illustrator on the iPad clearly states that you can "[w]ork on a project across Adobe Illustrator, Photoshop, and Fresco." This seems to indicate the all 3 applications will be able to open and edit PSDC and AIC files after the MAX 2020 update. Or they'll drop/rename AIC files in favour of having everything as PSDC's (or other extension). Also, one of the guest illustrators at a recent Adobe stream literally said she could open her AIC (?) files on Fresco. Missing global colours on the iPad, or not even being able to delete more than one colour swatch at a time on the desktop seems to disagree with that. These are the very basics of drawing, it's literally basic flat colouring of shapes, and it's been missing since the beginning! I mean they have great features, the isometric drawing for example is really, really good. But not if it comes at the expense of being able to literally colour things properly!
  10. Yeah, that’s absolutely true. To me the niche that Affinity Designer filled was illustration, no other application does the mix of vector and raster... unless... And here the crux of the question. By dragging their feet with large releases like were in 1998, instead of putting out monthly releases with small but welcome improvements that build over time they open themselves to be overran by other competitors. From what I can gather Affinity may have the rug pulled from under its feet with the illustration niche advantage I’ve just talked about. As far as I know Illustrator for the iPad will produce editable files that are interchangeable with Fresco. This means you can build the vectors in Illustrator, and raster shade them on Fresco. Pretty much what I think is the only strong use case for their software. If Adobe does it too, but better, then it’s game over for them. No pro will use their software since were all forced to have Creative Cloud subscriptions anyway, might as well make the most of it by using all software you can... That said there’s still advantages to how Affinity does things, and I’m not sure if Adobe or other will catch up on these, but they might and that’s a dangerous game to play.
  11. Yeah, and another thing. My 'File' suggestion (which I've amended to include EPS files) would work wonders for stock patterns. If you hop onto GraphicRiver, ColourBox, Creative Market, etc... all the patterns you can buy there are already stand alone tiles that can be repeated just by placing them next to each other. By being able to open and use these files with the Fill tool the vector pattern issue would be... reduced. Like I said, excellent is the enemy of good, and with the very slow release schedules of Affinity, any quick patch that can be slipped into minor releases is a welcome reprieve.
  12. Cleaner boolean operations is a must of course. But the others, I'm not so sure, to me they'd be 'nice to have' but not critical. I personally think there's two areas that need the most attention right now: Swatches panel: Colouring artwork is the basic of the basics. This panel needs to work reliably all the time, and right now there's a few bugs that need cleaning up. Another very important area is the missing features, stuff like selecting multiple swatches to delete/move at once, select all unused swatches, merge swatches, and a better UI to edit them. Colouring is basics, it needs to be solid. Vector patterns: right now the Fill tool supports patterns, but only bitmap ones. The entirety of the textile industry lives off vector patterns, by continuing to ignore it you're leaving a whole industry out of the loop. Other industries rely on these too, like stationary and to a lesser extent, branding. Right now the quick and dirty solution would be to rename the fill tool 'Bitmap' option to 'File', and allow it to open and use AFDESIGN, EPS and PDF files as patterns, without rasterization obviously. This doesn't solve creating them, but it does solve applying. Obviously the best option would be a full integrated solution like in Illustrator, but you know the saying, excellent is the enemy of good.
  13. You have? Are you talking about just the beta then? On the stable version ( try as I might I can't get the canvas to rotate with the two finger gesture. I haven't tried the beta yet, I normally only test these if there's a feature I'm really interested in testing first hand. Thanks! VID_20201005_104625.mp4
  14. Can we use the two finger rotate gesture on the Surface Pro to do this as well? Just like in the iPad.
  15. I really don't know why anyone would want mesh fills. They exist in Illustrator, I avoid them like the plague. They're impossible to manage, a pain to create, they're simply awful. If you're considering adding this so people can have multiple flowing colours in one shape, then consider... err... taking inspiration from Illustrator free form gradients. They'll serve most people's needs, and are so, but so, much easier to manage. Of course if we're going into personal requests, then my top vote will always be global colours on the iPad and a 'full rewrite' of the swatches panel on the desktop.
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