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Everything posted by gdenby

  1. gdenby

    Brush px vs pt

    Thanks for the note. I worked thru the math on the display info, and get a 26.7" diagonal ay 220 ppi, which is pretty close to the specified 27". I was going by the info I was seeing from the Preview screen captures, which is reads 144. The app prefs say 1 pt = 1 pixel.
  2. gdenby

    Brush px vs pt

    A small by the way. A point is a unit of typographic measurement. The size is usually 1/72nd of an inch. My recollection is that when Apple began developing the Mac as a desktop publishing and graphics platform, the display was 72 square pixels per inch, for greater compatibility with page layout. As far as I can tell, the new retina display doubles that.
  3. I worked on a heart shape made of 2 copies of a curve, 1 flipped and moved till it snapped. I tried several times. 1st time, the nodes were not quite on top of each other. The next few times they were very close. I tried adding a few times. Typically, I would get 1 node just right, but at the opposite end, 2 nodes slightly mis-aligned. If I deleted a spare, the curve form would warp. I tried in node mode a standard join curves, close curve command sequence. Similar results. Finally, I selected 2 overlapping nodes, used join curves. Selected the others, used close curve. It appeared that I lost 1 handle on each. But they reappeared when I selected the adjoining node on the side where the handles had disappeared. No curve shape info was lost, as far as I could see. In this case, the heart shape tool is probably a lot more convenient.
  4. Not knowing the shape, I can only guess what is going on. Each pen line can have a stroke and/or a fill. Even a straight line can have a fill, it just doesn't show up because the line doesn't enclose any space. The shape does not have to be closed to have a fill. A series of lines, even if they overlap, will each have a different fill. To create a single object, select the various curves. Switch to the node tool, and use the "action" widget to "join curves," and then use the "close curve" button. You may end up with a rather odd shape depending on where the ends of the various initial lines were. More work w. the nod tool will fix that. You can then apply a gradient to the whole shape, or paint in it. You can also use boolean operations to add, interset, combine, etc various lines, but those operations may give some very peculiar shapes. If you want a hole in a shape. Draw a closed shape. Draw another on top of it. Select both, and use the "subtract" boolean operation. The upper layer will cut out the bottom Hope this helped some.
  5. Working now w. symbols. Happy to have seen the in-house vid, viewed several times, took notes. Figured out that some of my problems to date were not understanding how the symbol container and contents selection changed operations. Question. Symbol contents have attributes. There are obvious ones such as fill, stroke, and layer blend. It appears that transformations are also an attribute. Any others? It seems that if a symbol content object/layer, or one within a group of objects making up the symbol contents has a geometric transformation, it is un-synchronized. An example. I made a symbol of a group of 2 nested stars. Duplicated the symbol several times, and selected one internal star in one instance. I turned off synch, and squashed the star some. After that, while it would move and rotate within that instance. Size and rotations in other instance objects no longer affected it. A similar thing happened when I reshaped a square into a rectangle, at which point I saw that transformations were unlinked. Which leads to a question. Is there a way to re-link? Or, should another symbol be made out of the transformed shape. IE, detach, re-create so that particular form can be retained. Then place that inside and existing symbol. Anu advice, or comment appreciated. Sorry to make this longer, but... here may be a bit of a bug. I made several instances of a rectangle. Moved individual containers around, and rotated them some. Then started rotating and moving one of the content rectangles. The various instances would shift in place in relation to each other, and/rotate synchronously, as expected. After 5 - 8 positional shifts, I tried centering 2 of the rectangles on each other. and found they had slightly different sizes. If de-synched so I could try and duplicate the center positions, rotation and XY sizes, as above, they no longer synched. My suspicion is that in the course of the positional transforms, there was a very small rounding error on the defining node positions. By small, I mean 1 or 2 hundreds or thousands of an inch. Enough to be visible on a retina screen, though perhaps not enough for most printers.
  6. If the document is set up to be measured in pixels, then the transform panel shows the pixel position number of any bounding box selected corner in move mode, or any node when using the node tool. In the current version of AD, when objects are moved while snapping is on, there will be a small number displayed at the center the snapping lines. That can help getting within a pixel or so w/o using the transform panel controls. W/o using a grid, you can draw object and give them the exact proportion you may need by changing their sizes w. the transform panel tool.
  7. Hi, Caroline, You didn't say if you were using Affinity Designer or Photo. I just have AD, but I think both have the same set of shape tools. I spent my 1st week w. AD just exploring the shape tools, and their variations. My recollection is that there are in excess of 400 shape variants. I'm uncertain if Photo has the corner tool, which can modify shapes even farther. Here is a quick example. Dragged a seabed image onto an AD document. Cropped it w a diamond shape. Duplicated, and formed a set of tiles. Dropped those into a cog shape w. no fill. Same can be done w. shapes created by the pen and pencil tools.
  8. gdenby

    First project in Designer

    So much info in one small space. Quite an achievement. Dazzling, actually. And, I see there are some runes, too. Hat is off to you, sir.
  9. This is an interesting thing you have noticed. I worked thru every variation I could think of in the grid manager. None ever allowed changing the up option, same as you experienced. I did some reading around, and it appears there are no kinds of axonometric grids where the up axis is anything but 90. I can only speculate. Perhaps there is a plan to allow the 3rd axis to be variable in future developments.
  10. Start reading the help files. View the in-house tutes. AD terms have specific meanings within the app. As @VIPStephan says, a layer is an organizational term. The layers have precedence depending on how they arranged in a stack. It may contain various objects. Some shapes may have specific names, such as "rectangle." Others will be more generic, just "curve," unless you give it a specific name. There will also be adjustment layers, masks, sub-groups.
  11. My understanding from the Affinity video is similar. One point of confusion I had was that I didn't realize that changes to a symbol content object's shape, rotation, and skewing were different from changes in size, rotation, etc with instances on the page.
  12. gdenby

    Affinity Designer Workbook

    Wow, that was fast. Ordered yesterday, delivered this morning. About 150 pages in. Pretty good. Noticed a few basics I hadn't tapped into yet, going over the core skills. Have learned a few things among those, also.
  13. gdenby

    AP • Photographer's Introduction Post

    Beautiful swan image. In a moment of madness, I thought to myself "How could those feathers be turned into vector shapes?" But why, when a photo does them justice? There is a feature request section of the forum.
  14. I messed around a bit just now, and didn't get rectangles of slightly different sizes. But I don't recall exactly what I did previously, which was the result of various random rotations and translations.
  15. I think technically what AD can produce at present is a rose. Related to a cycloid, which is what a guilloché is, but not the same.
  16. Using both the Mac store 1.4 & 1.5 beta, the red dots appear at the position above the vertex when the "curved edges"check box is activated in the context bar. That is not the default in the versions I have. I suppose the tutorial was for an earlier version.
  17. I tried various sizes, and variations on the layer order. Lowest number count of curves after division was around 30. highest, somewhere over 80. The most expedient method I came up with was to draw the nested squares, and the circle. Copy the circle. Select inner square, subtract. Paste circle, select next, subtract. Repeat. Took maybe a minute. Far less painful than trying to sort thru the arc fragments made by dividing.
  18. gdenby

    Dividing point Designer

    I haven't done a lot of work w. symbols, but elements in symbols are different than in ordinary layer objects. My experience is that altering the underlying object geometry After it is a symbol does odd things. I just tried what you described, and had the same results. I guess changing the object geometry breaks the symbol. I've been trying to get the shape I want before making the layer object into a symbol so this doesn't happen.
  19. Peter_MK Your question intrigued me. I tried to come at the question as a physics question. It appears to me that from a full spectrum of light, colors bellow 570, nanometers, blues thru greens are only slightly reflected. Between 570 and about 630, the reflectance increases almost to an average of 90%, w a rapid shift above 600. There is complete reflectance above 700, which is red. In normal daylight, which has a strong blue component, this means pure gold reflects a slightly orange yellow. In fire light, it might appear more orange, or even red. The average color I could find from various reflectance charts seemed to be a hue of about 51 in the HSL model, and a luminance of 45, saturation 100. But there are many other things to consider. Most gold is not pure. In manufactured objects, it is usually mixed w. other metals to make it harder, which also modifies the color. 18K gold might be part silver, or part palladium, both of which reflect differently. And the light environment changes everything. Since gold reflects almost no blue, under a blue light, would gold look like a dull grey? Here is a story that might interest you. I went to a symposium where one of the presenters was demonstrating a method of photographing antiquities under very low light levels. He had started out making pictures in ancient Hindu temples, where the mural pigments were too fragile to be exposed to bright light. Often, the murals had gold leaf on them. He found a method to produce very long exposures in an area that was almost pitch black. He demonstrated his method using a medieval manuscript. 1st, he made the photo under dim room light that would not damage the antique document. The gold lines on the document appeared a dull yellow green, some almost brown. The other colors were much like one could see. Then, he reset his camera, closed the door to what he needed as a demonstration, and had every one leave. He stopped the process at 90 minutes, and we came back when the film was developed. The ordinary colors were a bit more saturated, but the gold was glowing as it should have been. So, what gold looks like depends an awful lot on ambient light and how the recoding device works, and how well burnished it is.
  20. gdenby

    Dividing point Designer

    To quote the help file. "Select the node at the point at which you want the curve to break and click Break Curve on the context toolbar."
  21. It seems reasonable that shifting to another app would slow AD's operation. AD operates very much in real time, sort of like a video game. I would suppose shifting to another app, especially one that might some shared resource, or need lots of real time input, would decrease AD priority. As a btw, I mucked around making a much simpler set of lines, just 200, expanded those, expanded again, and then did a boolean add. I had the activity monitor open, and briefly, I had a number of 104% CPU usage!? I looked at the CPU load window, and saw that doing a similar process again had the User CPU load jump to about 30. After I selected the object, which was 800 circle curves added, and went to use the node tool, and zoomed in about 500%, user cpu load went above 40%. I also noted that even simple things, like scrubbing the stroke width slider back and forth would greatly increase the CPU usage. Clearly not much of a mathematical process, but display update seems to use up quite a lot of CPU. Oh, and I tried working in outline mode, wondering if the drawing routine was less intensive. Made 360 intersecting squares, added them together, then Selected all nodes and used the corner tool on all at once. User CPU load went to nearly 50% on the bottom graph, and the CPU % column went above 250% Definitely had a pizza wheel at that point.
  22. No real answer. Do you absolutely need to expand the strokes? Looking at some of my much less complex files, the size can triple between simple strokes and the same expanded. I've had a few instances where I thought AD was hung. I'm running an i5, which has 6 cores running at 3.3 GHz. After a few times, doing one of the booleans on maybe 1100 curves, I realized it was just a processing load. I did go and make coffee. Typically that takes 2 - 3 minutes. Given the differences between the machines and the curve count, I'd guess 2 hours would be a reasonable time to do the union.
  23. I opened the file in the Mac 1.5.2 beta. I found that if I zoomed in to about 500%, Where the icon filled most of the screen, I could use the move/select tool by double clicking a line segment, and then shift click to select all of the other parts.