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Everything posted by gdenby

  1. One can get line width and opacity changes w. just a mouse using the pencil and vector brush, and choosing the control variable to velocity/negative velocity. It IS, indeed, very clumsy, and using a tablet is immensely better. As above, the pen tool (I suppose that is what you are calling the "path tool", no path tool in Designer) does not respond to mouse velocity, and obviously there is no pressure from the mouse clicks. I'm uncertain where your problem is happening. See attached. Shapes made w. the parametric shape tools, and given a line pressure change. More lines made w the pen tool, also showing the pressure change. Variations made to the pressure profile, and repeated over several lines. Another change in the pressure profile, applied to a few strokes, and then strokes w. variable brushes assigned.
  2. Hi, Thomahawk, The pen tool does not respond to pressure or velocity. The stroke must be changed from the dialogue. The pencil tool will respond to pressure and velocity w. basic brushes, and a textured brush when applied will pick up on that. The vector brush will respond to pressure/velocity/brush defaults.
  3. If there is no stroke on a "curve," i.e. a vector, it would be somewhat useful to have the command ghosted for objects that have a stroke set to zero. One does not need to expand an object w. no stroke. The vector that defines the perimeter is the fundamental shape. Try using the outline view mode. It will show only the geometric shapes, and not the stroke and fill attributes. When ever I use the command on a stroke-less vector, there is no new curve object generated. Any object w. an extremely small stroke, .001 pt for instance, will generate a new layer object, but it will be invisible until zoomed way in.
  4. Hi, jtlapp, AD's vector shapes can have 2 attributes, fill and stroke. (If I've got this right) The built in shapes default to a pale grey fill, and no stroke. The pen and pencil default to a very thin stroke, no fill. You just replied. Its not a bug that it doesn't expand stroke when there is no stroke. There is nothing to expand. What happens w. expand stroke is that the stroke, which is "painted" onto the vector, is turned to a vector by adding connected nodes to the boundary of the painted stroke. So a rectangle, for instance, w. no fill, but a thick stroke, 36 pt perhaps, will be expanded to a 1/2" perimeter. That new object has the fill color of the stroke, but no stroke of its own. One can then add a stroke to the expanded stroke, and expand again, creating a series of perimeter shapes. Because the strokes can have pressure profiles, on can make pen or pencil curves w. variable thickness. Upon expanding, one gets something like a dynamic ink stroke. The routine as it stands can produce immense numbers of nodes if the stroke is highly inflected, very curved w. many width variations. This can make subsequent work doing geometric operations between various curve objects rather messy. Sometimes boolean operations will produce hundreds of objects that are invisible because they are so small, but are comprised of nodes a .001 apart.
  5. R C-R beat me to it, I had to re-boot, and start some laundry. But, same thing, more or less.
  6. You might want to look at the forum section "Show your work," and see what other users are producing. Also, both are available for a free 10 day evaluation. Each one has enough features that it could take most of 10 days to become well acquainted, so try them in sequence.
  7. Hi NewbieOnPractice, A rectangle shape is made, and given a maximum noise setting for the grey fill. That is then rasterized, a thin selection made from that, and the rasterized selection is stretched to make the noise dots into lines. Those are then saved as a .png, which is subsequently used as the base for a new texturized intensity brush. A circle is drawn, and given a very thick stroke. The stroke has the new brush texture assigned to it, stretching the lines around in a circular form.
  8. Hi, Genscher, Seems to me you want something that should be called "center on object," not align. Put in a request, and if enough people ask, from what I understand, it will be prioritized.
  9. Or, w. the objects selected, change to the fill tool, and change color and fill type there also.
  10. Thanks to google: Teinte Saturation Luminosité = Hue Saturation Luminosity Here's another way to think of CMYK vs. RGB. CMYK is subtractive. The cyan, magenta, and yellow, if evenly mixed as paints, will give a dull brown, which will go ever darker as black is added. RGB is additive. Small amounts of RGB give a dark brownish color. Both CMYK and RGB are limited by material considerations. CMYK dyes have different staining powers on different papers. The same press using different papers will produce different appearances. Any change in the ink from one brand to another will probably cause more changes. RGB depends on the phosphors in the computer display. Early on, when color was being introduced to desktop computing, many inexpensive monitors had a blue cast to the color, and were quite dim. Professional graphics monitors had a wider color spectrum that could be adjusted. They were brighter, but often had hoods around them to keep ambient light from degrading the display. Also, consider. How would a painting or water color made w. only CMYK compare to one made w. perhaps 24 pigments/dyes? By comparison, the CMYK will most likely be distorted and dull compared to the subject one sees.
  11. gdenby

    My very first work with Affinity Design.

    Fine work. Giant 1st step.
  12. The 1.7 beta does show some nice improvements. Still not a mesh warp, but some things are possible w. a bit of work.
  13. Rotating the canvas is possible. Right mouse button gives a floating menu w. rotate right, rotate left, reset. Changes the canvas orientation by 15 deg.
  14. Hi, mdennemark, The v1.7 customer beta has a lasso, but only for nodes, not objects. Start by selecting the individual lines from near their center, and then add to the selection by drawing in new marquees from the edges. I don't know exactly what you are referring to by "polylines." I know AutoCAD allows individual lines to be formed into units called polylines. AD's method is sort of the reverse. Individual lines have little function. It is only when they are joined to form areas, which is what I suppose you want to do. After the individual objects are selected, shirt to the node tool, and use the "join curves" widget.
  15. Wait! shouldn't it be a cogswheel?
  16. Hi, fatkidfrank, firstdefence beat me to it. I have to admit that when I 1st opened the file, my inclination was that there wasn't any other option than to start from scratch. I was stoping using Illustrator about the time Live Paint was introduced, but Designer doesn't work like that at all. Designer works more like AI did before the introduction of live paint. Eventually that nudged my memory as to what I had to do way back when I was handed 2-D drawings to vectorize. So I rasterized your work, and ran it thru a vectorizer 2 times, once for the outlines, and again for the enclosed shapes. Brought into AD, and started picking thru the forms to add color. Attached, a partial job. If you like, you could adjust to your liking. I'd suggest selecting each part of a letter fill, and either grouping them for better organization, or better, doing a boolean add so they became a single layer which could be recolored all at once. CAFE.afdesign
  17. Hi, CST, The decimal display is set in "Preferences/User Interface." Once that is set to however many places you need, the Transform panel will allow you to view and enter the values you need. Note, if doing manual positioning, the transform panel will still display rounded values. I've found that changing the decimal precision limit shows that nodes I've manually/visually positioned at 2000% zoom can be accurate to around +/- .003 MM. The v 1.7 beta show improvements that can automatically be well under .01 mm
  18. Hi, Roger terry, If you have a line segment between two nodes, all you need to do is use the node tool to stretch any part of the line. No need to touch the node. Can be either sharp, as in the attached, or curved.
  19. I do think the .svg construct influence the way AD does the dashed/dotted line. The increase in length when the width changes appears to me to be because the dot or dash is a cross section of the line width, or a multiple of that based on the end cap style. Attached, a series of 5 pt. strokes. First three, no dash/dot setting. 2nd 3, default 1-1 dot-dash setting. Not that the but cap line, which has a cap size of 0 has a 1/1 dot pattern, while the round and square caps are 10 pt long, w. no apparent dash gap. When the pattern is changed to 0/1, the butt cap disappears. In the final 2, the setting is set to 0/2, giving a dot or square that is 5 pt long, w a five point gaps. So the design is "Create a dot or square the width of the line starting within a length of (x)*5pt. So its a feature, not a bug.
  20. Hi, warbler, I had to do this sort of thing some years ago for an art museum. Some was for presenting images from the collection on our the new fangled web page. In that case, it was not for framing images, but using the period frames to form a boundary for the text presentation about exhibits. But mostly as a way to help the designer and curators mock up exhibitions. The basic problem is the frame. Painting frames are often quite elaborate. I'll suggest you find or make good quality photos of different frame stock, and show one of your works w. a frame you think appropriate, and then have links to alternative styles so the client can, if they want, choose something that might work better for their situation. Tone adjustment to make a frame look like it has different kinds of gilding shouldn't be too hard. But assembling something like a baroque style w. center embellishments, and different corner moldings will probably take some skill in compositing. For prints, I tried using 2d software, but the results were not so good at that time. At this point, I suppose one might make a reasonable approximation of a brushed metal frame, or a painted wooden moulding. But at that time I used 3-D software as the best solution. The important thing is that the frame and matte have a subtle shading that indicates a flow of light across the surface. Both AD and AP can lay multiple layers of very subtle gradients across the matte shape that will get close to what one would see in actuality. Likewise, selective additions of noise across the surface. Note, this was for faking "photo-realistic" installations, and only an approximation of what the real presentation of the piece might be.
  21. Hi, JKerr, Check out the 1.7 customer beta. !lasso tool. Also, transforms tor selected nodes. Even in the current release, all curve objects can be selected, and by switching to node tool, all of the nodes of objects and some nodes of other objects can be selected, and moved/transformed as a mass.
  22. I wish I could be non-technical. Anti-aliasing, blurriness, is an attempt at reducing a basic short coming of computer graphics that rely on a rectangular grid for display. Basically, a pixel, or once upon a time, a single pin from a dot-matrix printer, made a point either all black or white. W. some improvement in either/both intensity and resolution, a middle grey could be placed between squares of black and white. The "jaggy" was reduced. But blurry was added by filling a space with an average. So an image that is rasterized/pixellated will either be jaggy or somewhat blurred. Generally jaggy is considered to be bad, unless one is trying to imitate old 8-bit displays. So the blur is added. Any time an image is scaled up, the blur spreads. One might increase the contrast before enlargement, hoping that edges will remain clearer, but then colors may distort. Going in the opposite direction works better. If the image is reduced, some of the blur will be averaged into the smaller area. But if one is reducing something like a photo, the image may remain fairly sharp, but details will disappear. So starting w. a large vector image that has been rasterized will likely produce a fairly sharp image. But inn both directions, it is just averaging information into a larger or smaller area. For some years there has been another way of working w. bitmaps called wavelets. This is something about which I have only a rudimentary understanding. Take an image, and look for features that span a large area. Then look for areas half that size. And again, until features as small as a single pixel are defined. Perhaps those are just noise. Wipe them out by making an average. Step up to the larger features, and modify those somewhat less. I think this is more or less how the AP denoise filter works. Then work the other way around, and increase the contrast at only the smaller scales, so that details larger than what might be noise are heightened. Unsharp mask is a very simple way of doing this, AFAIK.
  23. I stand corrected. I must not have been setting the parameters identically.