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Everything posted by gdenby

  1. I haven't done anything like that for some years, about 10 years ago, and am unfamiliar w. what is currently available. Back then, I was using a database that stored data on art objects, and thumbnail images of them. I made the thumbs in Ps. It was not much different than a merge file in something like Microsoft Word, which, if I recall correctly, had within it some of the capabilities of Microsofts Access database. On this forum, there have been a number of requests to allow Affinity files to be linked to data sources, such as spread sheets, and image cataloguing apps. I've seen a couple of posts about embedded files being used in the as yet unreleased Publisher.
  2. Hi, rutroh,, As above, Designer is probably better suited to creating logos. Photo has fine image manipulation tools for "lifestyle shots." For those tasks, they are very good tools. But, to date neither serve as a front end for a database or spread sheet. No automatic updating from external data sources, such as a line sheet needs. At this point, updates of product specs and images of current offerings must be done manually.
  3. I haven't used any Windows machines for 6 -7 years, and at that time, not for any graphics. I was uncertain if the "system" palette was Mac only, but thought it worth mentioning.
  4. Make a copy of the path. Add it to itself. Do a divide. That resets the box. If you have an open curve, as illustrated, that will close, and need breaking/deleting.
  5. Hi, JPSports, Use the help file, and search on "swatch." It is not hard to make a collection of colors and save them as an application wide swatch set, or a system wide swatch set. "Also - is there a way not to have variants of a color (40% blue) continue to show up on the publication swatch? In InDesign, it does NOT show the varient of the color on the swatch" I'm assuming you have used a routine that gathers swatches from a current image. You can work thru the auto-created color samples, and delete them from the swatch set.
  6. I found a pic of an old sign, and ran it thru a tracer. Ended up w. a file above 50K. Spent a good bit of time deleting nodes, and adjusting curves. Eventually managed to get an .svg that was 14.6 Kb. But it had almost none of the lumpy character that the trace had from the original image. To get the file down from 16 Kb to under 15 was a matter of deleting every excess node I could find. "Oh, look, there are 2 nodes almost on top of one another. And there's three. delete, delete." And I noticed that the export for the .svg had to be for web use. Other types made bigger files. My guess is that even a manual trace of an irregular form is going to make something too big. I've looked at various versions of what I worked on, and it really comes down to the number of nodes defined. Smooth curves don't need near as many points to record.
  7. Hi, iamwoger, Did you use an autotrace utility. The "Casterol" has a really irregular edge, which can happen w. tracers. They can make about a bazillion nodes. If the tracer doesn't have a node reduction or optimization routine, there may be hundreds of nodes that must be cleaned away manually. Or, is it a bitmap image enclosed in a vector shape, w. the .svg format allows. If so, there may be data for every pixel, which would bulk the file up. AD exports .svg 1.1
  8. Hi, Digas, While "My Craft Studio Elite" has lots of convenience built in, Designer has far more versatility. Attached, a quickie that while it did take a minute or so, shows how much variation can be made using the power duplicate function and layering blend modes.
  9. I've been fussing around in APhoto, working on emulating hatched drawing routines. I've had some luck getting a more hand made look for the bitmap. Here's a sample of a sort of wood cut look that is the results of 3 .svgs from Image Vectorizer, a product from the potrace creator's commercial venture. Put them together in AD. Still a little too busy, and I didn't bother filtering out enough of the noise. But I'm getting some decent results.
  10. Considering that potrace has been in development for 15+ years, and is available free in Inkscape, or on the web at Vectorization.org (and in other forms), seems to me like there are other features that should be built into Affinity well before a bit map tracer,
  11. Hi, Kev74, The learning curve is there, but it is not very steep. The UI has a ton of stuff in it, and it will take awhile to dig thru it. Also, the Affinity software is fairly "young." There is a lot of stuff that is available in older apps that isn't in Affinity yet. And features that are Adobe proprietary you will not find. Nevertheless, what is available works well. Its quick and reliable. In my experience, very few program failures compared to others. Some rough corners for some operations, but mostly just irritations.
  12. gdenby

    Pattern fill

    Hi, Angelos58, It appears the problem above is caused by the diagonal lines being slightly offset from the square they fill. See attached:
  13. The original file could contain bitmap images. I just d0loaded the youtube logo as an .eps, and it included a badly pixelated image for the shiny screen glint. It needed to be blurred. I suspect that the pixelization problem may be because the .png file is not large enough to start, or is being exported at a smaller size. As I mentioned above, all bitmaps will have shapes w. pixelated edges.
  14. What format are you exporting? All pixel formats will, by definition, be somewhat pixellated. Of the various formats, .gif is usually the worst (its the oldest, back when everything was pixelated), .jpg not compressed or only slightly will be good, as will .png. Only .svg can be made close to no pixels/dots, because it is not a pixel image till rendered at whatever the highest resolution of the rendering device is. How are you making the art? Are you adding images from other sources into ones made w. Affinity apps? If those are pixellated, you might be able to process them into something useful. As R C-R mentions resampling, which is often helpful. Again, give an example.
  15. Some odd shapes snapped to the periphery of another odd shape.
  16. Ah, just checked back after a long day entertaining family. Yes, that does it. Your method selects the parts that are needed, much easier than selecting all the un-needed ones.
  17. I tried to make it easy, but this is really a difficult file. As I mentioned, I had a lot of trouble figuring out what white parts were supposed to be part of the back ground, and which were tube high lites. Check out the attached. The top layer, colored orange, needs to be duplicated. The glints, selected as nodes, need to be wipes out. Then that layer gets subtracted from its self, leaving the original whit layer part.
  18. Hi, LeeScoresby, (Edit: I thought I posted this a couple of hours ago, but here it is anyway. What happens, I 'spose, when working on a morning coffee and vector work.) I gave it a try. Not a fun set of objects to work w. In the end, I made a couple of mistakes, because I was having troubles telling which white shapes were glints on the surface, and which were white areas that needed to de transparent. Attached is my attempt, w. flaws. Here's what I did to get the results. I duplicated the top layer till I had a copy for itself and each layer below. I then began doing a boolean subtraction w. a copy on each of the lower layers. Because of the way the .svg stack was made, that subtraction cut away any part of the under layer that was no the layers color. This is easy enough to do. The hard part was at the end. I had to figure out how to cut away the open areas within the tuba body outline, but leave the white glints. In other words, I had to cut a portion of the topmost image away from its duplicate. I see from the result that I messed up somewhere, and subtracted a few glints, and not the background, so there are a couple of transparent areas where there should white. I put in a patch white rectangle in the layer stack to fill that. The .svg structure was unusual ti me. More often, I find the layers stacked light to dark on top, which means the background is transparent. tuba_silber_vectorized_grau.afdesign
  19. Have you looked at your "Sharing and Permissions" for the enclosing folders? If you own the upper level directory "chrstopheralmaraz" you should be able to grant access to any sub folder. The application will write to any directory the user owns. There is a possibility that there has been a directory corruption. Run the Disk Utility app, and do a repair. Messed up permissions used to be pretty common, but I haven't had one for over 10 years.
  20. Hi, seannymurrs, If I've understood what you want correctly, you want the background very dark grey to be right next to the black outline around the golden color shape. Try this. Select the golden shapes, which appear to me to have both a fill and stroke assigned to them, and make the stroke aligned to inside. The default is middle, so the stroke projects beyond the edge of the shap a little, and over lapps the shapes on the lower level. Hope this helps.
  21. Here's my offering. Its an eliptical gradient fill in donuts. Rainbow.afdesign
  22. gdenby

    what I need to do for next level

    The underlying "sketch" is too dark, and continuous. Make the sketch faint, like the lightest touches of a pencil.
  23. Hi, Jordane, Looking at your file, it appears you are trying to us the vector curves like "paint" lines. At this time, Designer fills the space enclosed by a vector line, and you have a lot of open vectors that can not have a fill placed cleanly in them. The shoe needs to be put together differently. Don't think of it as a bunch of lines that can have color between them. Think of colored areas that need to join together sort of like paper cut outs. Attached is a re-build. I took lines, duplicated them, broke them into smaller parts, and then joined and closed them into abutting shapes. Rather tedious, but doable. OneShoe.afdesign