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Everything posted by gdenby

  1. This is a work around that has been discussed before. Adding a centered stroke of the same color as the object fill escapes the anti-aliasing problem. Going to preferences/performance, and enabling "precise clipping" sometimes, for me, seems to work. I don't understand what is going on, but adding the stroke appears to work reliably.
  2. Seems to me the Much Bigger problem is faking the lioness's head where the cub was moved away.
  3. Looking at the cv/portfolio, It seems to me that you do a lot of bit map compositing. Affinity Photo is better at isolating portions of bit maps and blending them into composite images. Designer would certainly handle laying out the schematic renderings and photo composites. Previous posts have brought up problems w. using AutoCad output. AutoCad does not require closed vector entities, and it does not export .svg files. So adding color fills to schematics in Designer can take some work. As just mentioned above by jc4d, there are quite a few Adobe features that do not now exist in the Affinity suite. I do not use APhoto much, but other users have commented that they can get similar results as Photoshop, sometimes easier, but using methods quite unlike those used in Photoshop. Other times, there are work arounds that are not too difficult. Affinity does not do auto tracing of selections. One must save those off, and use a dedicated utility to create a vector object. My experience is that it takes a minimum of 15 seconds to create a vector object that way, but rarely more than a minute. One thing in the portfolio that Designer does not do is have the ability to create dimensioning lines. While the data is there, and the on screen display will show dimensions, there is no tool to create a line showing sizes at defined units.
  4. Hi, d.retagi, There haven't been lots of discussions about use for architecture. Try a search on "architectural." I can recall a few that used APhoto to enhance 3D renderings, some about coloring floor plans and town plans. Not long ago, there were some questions about using Sketch-Up rendering in a manner similar to Photoshop/Illustrator. I haven't worked w. Sketch-Up for about 10 years, and at least 6 for Illustrator, so the files presented contained lots of details that were out of my scope. Perhaps if you offered a small sample of what you've done, there will be people who might comment on Affinity specific methods.
  5. Most enterprises doing job recruitment will be needing to continue/expand ongoing projects. At this point, it may mean maintaining work that goes back decades, having been started w. Adobe products, or others from companies whose wares were acquired by Adobe. Thus, the requirement for pre-existing skill w. those apps. Where I worked, both Adobe and Microsoft were standard. If there was any way a department could do its work using just their suites, admin would strongly recommend those, if for no other reason that it required fewer people in support, and meant one less license agreement to renew each year. But many smaller businesses in the area used apps from Corel, among others. Don't know if that is still true. For smaller businesses, economy and standards based software appears more desirable. Affinity seems well positioned to me to be a choice there.
  6. Hi, Sweatman, The outlines shown are only the overall shape of the bitmap "template." If I'm guessing correctly about what you want to do, the closest I've come is to decrease the template opacity to something low, 10 - 15%, and add a B&W adjustment layer. That gives a temporary grey scale "ghosted" image.
  7. Something I just threw together. A .png file used as a bitmap fill in a layer over the image. Not quite the same, but might work for you.
  8. My mistake, its the menu command "Edit/Paste Style."
  9. Affinity allows layer styles to be copied and pasted to other layers. Just make a fill you like in 1 layer, copy the layer. Then select other layers and use the command "layer/Paste Style." That way, all will have the same fill which might be a gradient that can be adjusted in the varoius shapes to work better.
  10. Attached is a file w. some colored objects and others w. none. The colored objects are currently turned off. If activated, you can see how various areas become colored. TryThis.afdesign
  11. Kimo, "But from my point of view, i though i already had created a curve layer... more specific layer- curve, curse, curve , rectangle(color). so in my head this should work, i should now have 3 curves with a compared layer of color. or is it the first "layer" that's the issue?, since it a layer and not a curve. *(from what i understand from other forums it don't have a gender yet, and therefore it shouldn't matter)." Part of the problem seems to be based on terminology. "layer- curve, curse, curve , rectangle(color" is a set of layers. One may have a blank passthrough layer. But each curve is also its own layer. And then the color rectangle is its own layer. As a rectangle, it retains its parametric variables, but if converted to curves, it would just be called "curve" and its shape would then need to be changed thru node manipulation. The issue is that the rectangle (color) layer is not nested within any of the curves and the topmost layer is a "passthrough" similar to a clear window in which the other layers appear. To me, a problem w. the tutorial vid is that the fellow says he "merges" the curve/layers. The word "merge" is more often used when talking about pixel layers. Vector object are joined, or separated, or split using the "boolean" operations. In this case, the operation was add. When vector objects are added, a single object w. a single periphery is made, and all of them get the attributes of the bottom most layer in the stack. If I understood the tutorial, the fellow had a bunch of loosely drawn shapes that he wanted to unify into a single silhouette. So he added them, and gave them a uniform fill. But then he placed copies of the original shapes onto the unified one, and added various color gradients and transparencies. See an attached image:
  12. The pen and node tools are in the same tool fly-out in Photo. But the tool shortcut is "p" in photo, not "a" as in designer.
  13. What R C-R pointed out is correct. After going thru the video, it seems that the objects that are "merged," to use his term, are then overlaid w. the original shapes, which are then shaded separately. All objects can have their own color, named the fill. the fill color can be a gradient. In some cases, it is simpler to make 1 object w. a gradient fill, and apply that fill to others, adjusting the gradient direction and extent as needed for each part.
  14. gdenby


    When the arrow is selected, you will notice various items appearing in the context tool bar above. To the left are boxes named fill and stroke. Click the fill box, and a small dialogue will appear giving access to around 10 different kinds of color control.
  15. Before noticing the "transform each" in the beta version, I went through the trouble of making various dot arrays out of symbols, and saving those as assets. I used 10 - 12 symbols. I used the polygon tool, and made several differently ordered groups, such as all horizontal, or concentric. That way I can get various patterns where the polygon form rows that taper, of the color fades/changes. A sample from 1
  16. I couldn't follow most of what the fellow did. I don't use Inkscape enough, and the version shown is somewhat later than mine. I didn't see any reason why using diamonds was necessary in this situation. I supposed it might be to cut a bevel, but that seemed to me from what I could see of the vid that that wasn't needed.
  17. Hi, dannys81, Here's an Affinity method. Have snapping turned on. Draw a circle/ellipse. If you like, position the center at the center of the spread. Make the circle's fill none, and set the stroke to whatever thickness you want. Then draw a rectangle of desired size that spans the circle. Because snapping is on, you will see when the rectangle is centered on the circle. You will notice it is positioned above the circle in the layer hierarchy. This is necessary for the next operation. Select both, and use the boolean subtract widget. Here is where the procedure appears to me to differ from Inkscape. The rectangle is subtracted away, leaving 2 parts of the original circle. Using the node tool, select the 4 inner nodes, and then use the "break curve" widget. There will then be 2 straight line curves, and 2 arcs. Delete the lines. My opinion is that it is not a good way to learn to use Affinity by watching other apps tutorials. I've been using various vector programs for about 30 years now, and it still took me at least 2 weeks just getting settled into Designer. It took me a couple of months to stop using keyboard short cuts I half remembered from other apps. Not all features are implemented thesame as in other apps, and some have not been written yet. I figure its better to practice w. what is at hand, so that I can add new skills as new tools are added.
  18. Many/most texture brushes are designed to have a gap at the beginning and end, so they look like a real brush fading in and out. Try using the "edit brush" mouse menu, and change the brush head and tail end position. If a bit is clipped off, the texture will go all the way to the end of the vector.
  19. Why not just make a blank document for each client, w. the clients required and preferred colors and swatches? Then, for each assignment, open the blank document, and resize it as needed for the current project.
  20. gdenby

    affinity beginner

    Any vector that encloses an area can have both a fill and a stroke. The end points of the vector don't need to be connected, but the fill will be a straight line between the end points. The only exception is a straight line, which does not enclose any 2D space. There are several problems when using unclosed curves. The obvious one is unexpected straight lines among the curves. The other is when the curves are used in boolean operations, such as add, deide, etc. Designer automatically closed the curves, which can lead to all sorts of odd fragmented shapes. So it is best to draw a complete perimeter for each shape, or at lest one which is so close to complete that the gap is very small. One can then use the node tool widget for closing the curve, which will add the small straight stroke. Then its just a matter of getting the shapes in a proper layer hierarchy so the upper shapes cover parts of lower ones.
  21. Change the document set-up to mm/ Then you can do the entry in the transform studio as you like. The object position is for the chosen dot in the transform studio grid-lette.
  22. Yes, the curve change does not happen automatically. It isn't a real blend. Only works some of the built in shapes w. have a variable, and requires manual input.
  23. It appears to me that Affinity pencil tools tries to make smooth curves. The speed of drawing seems to set how many samples are made to place the nodes that define the curve. Attached, a line drawn swiftly. 2 more, moving slow and slower w. very arthritic hands.
  24. A special case, done manually w/o too much trouble. Power duplicate a 3 sided polygon shape, and adjusted the curve parameter.
  25. Yes, the layer needs to be rasterized. One may then choose any color, and with the flood fill tool set to a tolerance of Zero, fill any pixel w. a different color. If keeping the layer a vector w. gradient fill, adding the gaussian blur fx w. alpha protected will smear the colors, and eliminate a bright spot.