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gdenby

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Everything posted by gdenby

  1. Hi, kconkling, I can offer some answers, take them w. a grain of salt, I'm just a user. When a style is saved, it remains within the application. It can be exported as an .afstyles files using the "hamburger" menu in the styles studio panel. Exporting them is good if one needs to reset the app to factory defaults, and bring back ones styles. The design files are for any document, or object in a document. Photoshop has some layer style operations that are not implemented in Designer at this point. Look at Designer's layer FX options. if there are operations similar to those in Photoshop, the style might be translated. Also, note that Designer can only replicate features that are public, not proprietary to Photoshop. Some things created in Photoshop can only be used w. Photoshop. The various studio panels can be pulled away, and float in the work space. AFAIK, layer styles and text styles are not the same because text styles are aimed at standard modifications of text, such as bolding, or kerning. If the text is converted to curves, and becomes a plain geometric object, then layer styles are applicable. In Designer, transparency is indicated by a grey checkerboard, not a color. I don't use pixel mask much, but the level of transparency in them is adjusted by painting in black or white. Objects/layers/groups in Designer are surrounded by an implied bounding box. The object itself is the perimeter defined by the nodes, but all of those are referenced by the x/y rectangle that they fit in. Blank style icons may be because the style was applied to a perfectly straight horizontal or vertical line. From what i can tell, because such a line encloses no area, there is no way to depict any fill attribute for the style.
  2. Hi, all, A sample from something i've been working on for the last month. A drawing made from a rather poor cell phone camera shot. Knowing the guy, I liked the expression from the photo as he sat outside on a cool day in the sunlight. The colors are based on those that might have been used up to 500 years ago. Ochre, green earth, indigo, azurite mixed w. chalk. Sort of an illustration for a short story.
  3. Hi, spaggi, I did try and make the selection smoother, but wasn't very happy w. the results. So I made a vector object, and placed the bitmap in that to give a smooth edge. Then remade the backgroun and shadow.
  4. Hi, patriciamelvill, I haven't the faintest idea how it might have happened, but it appears that the brush "dab" spacing and/or x - y spacing was altered. Select the brush, use the right mouse button "Edit Brush" menu, and reset the brush.
  5. Also check out: http://xahlee.info/SpecialPlaneCurves_dir/specialPlaneCurves.html http://www.demonstrations.wolfram.com/LogarithmicSpiral/ etc. from the same site. Note: Mathematica for home/hobby use is still a fair piece of change. And it appears that getting a pure vector .svg out of it is a bit of a trick. Seems like a dedicated spiral app might be a better source. I see that there is only 1 type available in Inkscape. I have to suppose that unless there is a large demand for volutes, perhaps for architects designing neo-neo-classical buildings, there isn't much need for a dedicated tool. Perhaps a formula a bit more advanced than what firstdefence uses in a power duplicate might be good for those who want to generate various spirals once in awhile. Not just geometric scaling, but log scaling.
  6. I don't use Inkscape much. On the Mac, running under XQuartz, the interface and performance is really poor. But I do very frequently move .svg files back and forth between Inkscape and Designer. I only had one problem. Inkscape's arrowhead feature doesn't render in Designer 1.6. Otherwise, no problems. Have you tried opening up the "g6726" layer? It may be that because of the way Designer displays "child" layers in vector view, you are only seeing what is within the top most Inkscape object. Alternatively, switch to outline view. I think you will probably see the wire frame of the Inkscape vectors.
  7. Hi, PanSpec, While I used Adobe apps sporadically for many years, it was only a small part of my job. From what I can infer, while both Adobe and Serif software use some terms in common, the words specify somewhat different things. This leads to a fair number of problems for people taking up Affinity apps after Photoshop or Illustrator. Specifically, it appears that paths in the Adobe software, and lines, or curves in Affinity are made differently. While I haven't used Photoshop in at least 7 years, I've spent some time watching vids posted here w. people asking "How do I do this in Affinity?" What I infer is that Photoshop and Illustrator can work with paths that can be assembled to make networks, w. each cell in the network having different attributes if so desired. The curve(s) objects in Affinity imply an area. Nominally, each is a layer, because there can be a layer hierarchy where the implied areas are merged. Or, the "child " areas are nested within the parent(s"), and can inherit some of the attributes of the parents, such as adjustments. The Affinity layers/curves can be grouped within a layer by selecting a layed, and then clicking the "in sert inside" widget to place the next drawn figure in that layer. Note, while Affinity Photo has many of the vector drawing capabilities of Designer, you might find it easier to create your vector object in that app. Then transfer those to Photo for its more extensive color manipulation and pixel filter operations.
  8. Hi, Cloonix, I came at it in a slightly different way. I took a base shape, duplicated it a couple of times, and applied color gradients and transparency fades. It is a bit fussier than one might like to do. DSweep.afdesign
  9. Polygonius, I'm having trouble understanding what you write. I'm sure its just a problem with word translation. For instance, "I want THE HALF of a rectangle ( circle just as outline, but "open" visible." how does a half rectangle and a circle go together? Are you trying to work w. parts of parametric shapes that do not have fills? If so, just manipulate the vector nodes. Can you make a quick drawing of what you want, and post it?
  10. Hi, Erica, It is possible in Designer. It was possible in v 1.6, maybe earlier, but fairly difficult. Features in the beta 1.7 make it easier. As follows, in the mannequin, the arm nodes are rotated together, and repositioned. The "shoulder" is deformed, and I had to mess w. 4 nodes to remedy that. Took a minute or so once I had put together the figure. For more extensive work, I think it probably would be better to build shapes made out of elements linked in a skeleton "hierarchy." But at this point, Designer does Bezier curves, and not NURBS, so it would be clumsy.
  11. A couple of weeks ago, when this topic came up yet again, I spent some time using Inkscape to make arrows, and other stroke markers. When I exported .svg files of various kinds, Designer was not rendering the the markers. Chrome and Safari rendered them in different ways. My supposition at the time was that there were various ways to align the markers reference box perpendicular to the line slope. So, maybe it was not an exactly trivial problem. I would suppose at this point, any number of markers could be used. Nice eye diagram, btw.
  12. I'm assuming what is needed is to create a "poster" from tiles of smaller sheets of paper. My only experience with anything like that was to rely on the printer driver or sometimes a stand alone utility to scale up or down the primary document. There seems to be something else going on from what I can guess from the sample .pdfs. The design has been spread across 3 A0 sheets. I would suppose that this is a size that would be useful in production. Given that A4 is 1/32 the area of a single A0, sending the A0 document to a printer should output 96 pages, many of which would be empty. Seeing that the A4 example is 31 sheets, I suppose some rather complicated math was done to fit the design into those sizes. US letter size is a different proportion rectangle, and so would be yet another scale. That is, the long side A sizes are 1.4142 of the width, while US letter is 1.2941. Maybe try this. Make a custom size sheet in affinity big enough accommodate all of the pattern. Assume that sending the file to .pdf output will have the ability to select a sheet size for the tiles, and do an auto-fit. Perhaps for better US letter output, scale the main document pattern objects by .915, being sure the strokes are not set the change with size.
  13. Hi, Euclide, The pen line already is a curve. Turn to curve works on the parametric shapes, or text. To add a node to the pen line, select the pen line, switch to the node tool. You will then be able to add, delete, and modify the position of nodes, as well as their control handles.
  14. gdenby

    Botticelli's, The Birth of Venus (AD, Progress)

    That the piece is in skylight lighting makes sense. The "Birth of Venus" and other works are in tempera. AFAIK, tempera uses all inorganic pigments, at least when Botticelli was working. The same stuff used to color frescos. But anything like azurite, which might have been used on the sky, has long since faded. So no longer any harm showing it under day light. I have to wonder, how are you going to make a shorthand of all of the wave whitish foam lines?
  15. gdenby

    Botticelli's, The Birth of Venus (AD, Progress)

    I thought the same thing myself. When AI started using the image, the fine arts department responded by having a class where the people using traditional media were given the assignment of doing a replica in paint, ink. watercolor. There was a lot of tension between those doing physical, aka analogue, and those doing digital. Don't know that it ever was resolved except for photos, and then, only when film was no longer available.
  16. Hi, All Media Lab, It would be great to see this in the Affinity suite. I do think there are other things that do and should have a higher priority. In the meantime, maybe install the cwebp command line encoder on your system.
  17. gdenby

    Botticelli's, The Birth of Venus (AD, Progress)

    I worked in a museum, and lighting was one of the tasks I did. Its not just UV. For many works, particularly those that might have any organic colors, any light is bad. Current museum standards are that a work must be kept w. less than a 5% degradation over a 500 year period. For some pieces, that means no higher than 3 candlepower for 8 hours a day for 4 - 6 weeks every 10 years. We had exhibits where the pieces were kept under curtains and only lifted when there was a viewer. We never had the kind of money to have proximity triggers for the lights, such as are needed for "primitive" works that are all organic materials. The only way those and other pieces would likely be seen was thru high quality digital images captured under strobes that fire for a few thousandths of a second. The photographer had 3 shots, and then the piece went back into storage for maybe another 5 - 10 years. Or they might be on view in a room where it was too dark to read any signage. We had a few exhibits that were literally once in a lifetime. Renaissance drawings that would not be shown to the public for at least 30 years.
  18. Hi, The Lightning Phoenix, Seems to me you might just be over extending the node control handles. See below. A pen line intentionally made with over extended controls. The same line with the handles reduced to a normal size. The nodes changed to "sharp." Then changed back to curved nodes. Note, there is good reason to have controls that can extremely stretch the line between the nodes. Examples of shapes w. just 2 nodes and controls w. large extensions. One can define large areas w. a minimum of info, resulting in tiny files.
  19. gdenby

    Botticelli's, The Birth of Venus (AD, Progress)

    Welcome to the alliance of painstaking visual artists! While I had been exposed to various classical artists when quite young, my 1st big revelation was work by Albrecht Dürer. I eventually was able to view one of his portrait paintings. Tiny, not life size at all. Exquisite, but I had supposed it would have been bigger. Sometime later, I came across a reference that said it took 4 years to complete. And then there was the historical note that the way he painted single hairs was w. and ordinary brush, exquisitely handled. Really, good work. I think you must be realizing why Botticelli's images span ages. May your journey in the footsteps prove worthwhile.
  20. Hi, ooper, There are quite a few video tutorials on-line for Affinity Photo selection tools. A quick search brought up 17, and I would suppose there are even more available. I'll suggest you watch a few, and perhaps find what selection method works best for whatever you are doing. For me, the selection brush tends to work best, or hand drawing a selection w. the pen tool. Other people have fine results using the flood select tool, which for me is rather complex. With the selection made, you can copy the selected area into a document of whatever size. Or erase the inverse selection in the current document.
  21. Hi, pnnylayne, I'm a complete slouch when it comes to photography. No camera w. RAW, the camera in my iPad is as good, probably better, than any I've had. But I agree w. carl123. AP is probably what you need. I use Designer hours a day, but for some things, such as clearing out noise, or correcting scans of badly faded old pics from the 1940s, I go to photo. Currently, I'm working on a vector portrait of my brother-in-law that was taken w. a cell phone. I spent a couple of hours in Photo to get it to where it was clear enough that I could use it as a backdrop for what I'm doing in Designer, mostly using the pencil tool. If I didn't want to use that, but could get by w. the pen tool, which is available in both, Photo would have been adequate.
  22. If you want to paste a bitmap, use the fill tool, and choose bitmap. Then save the object as a style, and it can be applied top any number of other objects
  23. gdenby

    Hand Painted Textures

    Hi, Renzatic, Seems like most people are better w. pen and paper, than a tablet. My guess is that the paper's "tooth" gives better feedback to the fingers as the pencil is drawn across. I got a sheet of "paperlike" plastic for my iPad screen, and it helps a little. But anything that takes hand & eye co-ordination just takes lots of practice. The younger started the better. Unfortunately, many people don't even write w. pens or pencils anymore.
  24. Hi, KDJ, I did come across a stencil making tutorial for Cricut here. To do something similar in Affinity, you will need to use the boolean operators, specifically, subtract and add. These can be found in the menu "Layer/Geometry." There are also usually buttons for the operations in the upper right of the toolbar, assuming you have a basic layout for the bar. After choosing whatever font you want, type the words/letters. Then convert them to curves. A simple way to brake them up is to select the pen tool, and in line mode, draw a thick stroke. Position that as needed where you want to brake the glyph shape. Use the command "Layer/Expand Stroke" on the pen line. The line, now named "curve," should be above the letter shape in the layer hierarchy. With both selected, use the subtract command. The pen line shape will disappear, but the letter "curves" object will remain, but with a new clean break. After working w. many letters, you may want to group the mass of curves to make them easy to move around. Because all of the parts are distinct, they can be all "added" into a single curves object, also for easy moving and scaling. Then daw a rectangle to represent the vinyl to be cut, position the stencil above it, and subtract.
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