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gdenby

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Everything posted by gdenby

  1. gdenby

    Corner Tool Issue

    Mu guess is that there are 2 nodes sitting one on top of the other, and when 1 gets the corner applied, it yields a really weird stroke moving on to the same spot.
  2. Hi, JoeyB, I upgraded my iMac from 8 Gb to 32 when I started doing geometric operations in the vicinity of 15,000 curves, but those usually had less than 10 nodes per curve. The app wouldn't crash, but it would hang, and render the machine almost unusable. More RAM helped, but some operations are evidently computationally intense, and from what little I understand, seems to hog all the resources of several of the CPUs cores. I downloaded your file, and took a peek at it. I can only guess at how you are working at this. I saw one curve that appeared to be a pen or pencil line scribbled above another shape to paint over it. But in other areas I saw many many shapes that I guess were vector strokes that were expanded, as mentioned by Sean P. As it happens, Affinity's expand stroke command tends to make shapes w. immense numbers of nodes, and many users hope that is improved. Affinity also has a smoothing routine than can reduce the number of nodes, tho' like other apps, that sometimes distorts the shape. Following, one of the images strokes before and after the smoothing routine. I 'spose you are using an iPencil for expressive quickness. Its great for making dynamic lines, and the fact that Affinity has come up w. a way to make vector art from that is a 1st in my experience. But it is not usual to make hundreds of strokes to fill an area. I think you may want to re-work your method. Doing a diagnostic, here is a sample of one area's outline mode view. A portion with a dark arc composed of many strokes. The immense number of nodes of those shapes. I tried simplifying them and adding them, but crashed the app 3 times trying different methods. If I just reduced the opacity, I could view what was underneath and do a standard vector trace. Just took 10 nodes. Vector originated as anything but spontaneous. It was all about precision and simplicity. Maybe try something a bit more like old fashioned cartooning. Start putting you figures together from loose ellipses and "rubber balloons." Those can be added together, and refined, and then smaller items added on top or within those. I'm sure it will be as easy as Pi.
  3. Hi, _sorted_, I messed w. trying to get something out of the image last night, just before bed. Posting after some sleep. To preface, I find working w. this quality of image madening. It is heavily pixelated, and is blurred. Its the sort of heavily compressed stuff I've been working with for years, and have come to the conclusion that most of the time, it is faster to manually trace over the image, guessing at what some of the faint marks might be. I use Designer a lot more than Photo, and while I suspect Photo would probably give better results if I had more skill, what I was able to get from Designer was about the same. I decided to start w. a brightness/contrast adjustment. I turned the contrast way down, and found what I expected. Compression artifact debris all over. I applied a threshold adjustment to get a more solid line from the grey mess. It was obvious some detail was being lost. And depending on the threshold setting, some lines were being merged in places. So I started over, fiddled w. levels, added some blur to help reduce the jaggies, repeated the above, and got something I thought might be usable. I opened the results in an inexpensive app called Image Vectorizer, and fiddled w. it bit map preprocessing features to try and clean the image some more. To a few tries, but I got something that looked OK. Opened the .SVG in Designer, and saw that it was not very good. See the following, which includes a screen grab showing the hundreds of useless nodes that would have to be removed. Just did a quick test. Removing excess nodes in one line to over a minute. Just redrawing w. pen to 7 seconds. And that after at least .5 hr cleaning the pixels up. Moreover, the processed and vectorized image ends up being less accurate than what I can see from the original .jpg. So, just get handy w. the pen tool's stroke widths and dash line options. Maybe set up some guides to make snapping easier.
  4. Right after I made my last response, I tried using the Internet Health Test site. Failed after the 3rd of 4 runs. D-load, 2.4 Mb/s, upload 60 Kb/s. Just tried again, and also failed, saying that i had a firewall up, I don't, or browser plugins that interfere, but those also not. Curiously, when I use the test from my provider, it always shows almost the minimum for broafband, about 5Mb/s. I wonder if the new router I got a few weeks ago screws with the test. Just tried again, failed after 1st round, had a d-load of .5Mb/s. This makes me want to spit, 'cause I was spoiled when employed. My desktop got 1 Gb/min, often more. Honestly, my home service is not better than it was 15 years ago, and costs more.
  5. gdenby

    more efficiency

    I looked some more at the Assembly app. As they say, they take the approach of using building blocks. Some come w. the app, other's are available thru the pro subscription. As I mention, Affinity's built in shapes are much more versatile, as they allow the user to build any number of shape variations. The built in shapes change dynamically by moving their red control points. The tool menu at the bottom will give access to other shape variations, such as the number of teeth on the cog shape. On the tool bar, there is a button to convert the shape to a "curve" object, after which, all the nodes must be altered w. the node tool. Also, if one applies the corner tool to a shape, it is converted, but the size and kind of corner remains variable until the corners are "baked. Beyond that, the curves can be manipulated thru the boolean geometric operations. For instance, one could may a many pointed star. Then draw a circle over it. With both shapes selected,the boolean subtract will cut the circle shape out of the star. If the circle was big enough, one will then have a group of rays. I agree, selecting a plain line is a good bit harder than a shape, at least with the finger tips. Again, why I bought the pen. I can make selections of shapes, or tools, or whatever accurately almost every time, while I need many finger taps, often selecting the wrong item.
  6. I use air drop all the time. The air drop transfer is vastly faster than my internet upload speed, and usually faster than download.
  7. gdenby

    more efficiency

    Hi, simongg, Just an ordinary user here. Don't mind complaining too much, but I am a little confused by some of your problems. My opinion, if your bank accepts passwords of just 6 passwords, I'd use a different bank as soon as possible. I'd never tried to use keynote before reading you post. Took me about 15 minutes to find the drawing functions. They are very rudimentary, and couldn't do much. I looked at Assembly, also new to me. 180 pre-made shapes are nice starting points. But Affinity's 20+ built in shapes have so many variations. Took me 3 weeks to try out every variable for every shape. Expect to spend some time exploring. I have really bad arthritis, and other problems. Using the touch interface is really hard for me. But I'm not having problems selecting objects, even strokes. Likewise, w. the node tool active I can usually get to any individual node, tho' sometimes I need to zoom in if using my fingers alone. Can you detail what is happening for you? Note, the built in shapes do not have nodes that can be broken. They need to be converted to "curves" befor working w. nodes. I much prefer using the pencil. Like you, I often touch the screen w. other parts of my hand than the fingers. Often get things dialogues popping up, are strokes I never tried to make. I've seen adds for gloves that help block the signals from the rest of the hand other than the first 3 fingers. According to one vid, you can make on from an old sock. Again, that's why I prefer using a pencil. You are quite right. Learning a new app can be very time consuming. Affinity is pretty easy, maybe a hundred hours to come up to speed, assuming you are as slow as I am.
  8. Hi, LisaHUANG, I did some quick reading. Here is my guess at what is happening. Robofont is generating characters from human readable text, following the UFO standard. This is a good thing. To use a trivial example, HTML can be written w. a simple text processor, and displayed as a web page. A UFO font is a much more complex format, but still based on text that can be edited with the most common text tools. But it relies on the text being rendered by an app that converts the text to a screen or print item. In a similar manner, imagine trying to display a contemporary web page in a browser from years ago. the app doesn't recognize the new features. I see Adobe has been working on support for this format for several years. While what you see as a glyph on the Robofont screen made of Bezier curves, what underlies that is a mass of text. My guess is that Illustrator has a way to render the underlying text, but AD does not. When you copy the glyph, AD can only display the descriptive text. From my quick reading, Robofont can export the created fonts in formats AD does handle with its text tools. The characters might then be converted back into curve objects for more shaping. At this point, I don't know what external formats for import of curves Robofont has.
  9. I was writing in a more general vein for finding a solution to the lack of an arrowhead line end. What I meant was not applying a glyph to a curve, but finding, perhaps, a glyph that worked in place of of an arrow ended stroke. Much like using the arrow tool, with the attendant problems, but there are quite a variety of arrow glyphs, one of which might work.
  10. Hi, AlyceG There is another limited work around. Any pen line has an associated pressure curve, which can be used to modify the stroke width. The pressure can be adjusted to form a reasonable arrow head, and then the line can be saved as a style, and applied to any stroke. See attachment. Another work around is to use the Artistic text tool, and apply an arrow glyph as a text character.
  11. Hi, n8_xo, First, work thru the interface. Where are the controls, and what do they do? I started w. the desktop versions, and the layout of the iPad versions is sufficiently different that I'm having to re-learn how to do what I already can. Thankfully, I stopped using Adobe products about 10 years ago, so I'm not having to try and translate methods from those which became habitual to how the Affinity apps might do the same. I see lots of people post here thing like "Here's how I did this w Photoshop," or "I saw this tutorial for Illustrator, how do I do the same w. Designer?" Sometimes it is doable, tho' quite different. Other times not because the Adobe suite has decades of development, and has all sorts of odds and ends for specific operations. There are ever more Affinity specific tutes available online. Here's one I watched yesterday that seemed to me to offer good grounding. I should mention that even after more than 30 years w. computer graphics, it still took me about 3 weeks to start using AD smoothly. You are younger, so I s'pose will come up to speed faster. Still, expect Homer Simpson moments when you are stumped, and ask a question here, and the obvious answer is pointed out. And you get to go "D'oh!"
  12. Hi, ydaltak, I'm using 1.6.0. The splatter brush is available for the pixel persona brush.
  13. A late edit. I had re-written the above, but evidently fail to post the edited version. Any number of curves can be selected. When I mentioned 2, I was offering a basic example
  14. Hi, thomasbricker, Reading your question as "how to join separate curves from the ends of one to the ends of othesr," as opposed to "how to close a single curve from the last node to the 1st." If you have the two curves selected, activate the node tool, and use the "join curves" widget. The closest points will be connected. Depending on how close they are, you will get a straight line for the join. I suspect you will want to adjust that. The farther remaining nodes will be connected by the "close curve" widget, again w a straight line. You can also manipulate the curves so that the nodes go yellow, to indicate they are one on top the other. The join/close sequence still must be used, so its a little of six of one, half dozen of other. While doing these steps, notice how the layer panel shows the different curves.
  15. I looked at some of the stuff I've been doing w. expanded dashed strokes. Indeed, small dotted strokes, at .24 pt are turned to irregular shapes. Square ones don't, FWIW. So I tried αℓƒяє∂'s enlarge and contract method. See attachment. A plus sign at 12 pt, dotted dash line expanded on the left. On the right, the same character scaled up 16X. In between, the 16X scaled down by .06. Seems to retain the irregularities in the enlarged version, but much better than the one expanded from the base. I wouldn't expect this work around to be a permanent feature. Its just a sort of sticky window frame in a house that still has some rooms only framed.
  16. ? Expand stroke broken forever ? How so? I frequently expand thousands of stroke objects, and can use the results as I like, boolean operations mostly. Are you referring to the sometimes immense number of nodes generated? The smoothing option does not reduce the number of nodes dramatically, and can distort the edge shape. The only thing I can compare it to is Inkscape, which works a little better w. lesser numbers of nodes, and worse with equally large number of nodes. My recollection of what Corel could do about 15 years ago was that it worked better to reduce nodes, but only after tweaking parameters.
  17. There's another way, tho' it is complicated. Select the object. Go to the stroke studio, and add an appropriate stroke to the object. With the object selected, go to the pen tool, and use click the "use fill" button. Then with the fill tool, select "gradient" fill type. After setting the gradient, go to the color studio, and set the gradient control nodes to whatever color.
  18. Hi, timl206, Don't think there is any way. It may be called the move tool, but the tool also facilitates resizing, rotation and shearing. That is why the dots, etc. are there for manual work. If you want to move accurately, turn on snapping, adjust grid sizing, adjust nudge distances, and work with the transform dialog. There will be on screen feedback showing exact positioning data, high lights appear when objects are aligned, hints when objects are equal distances apart. Not hard at all. The transform dialog allows positioning, resizing, etc to amazingly fine levels of precision.
  19. gdenby

    Coffee cup

    IMHO, yes! And changing "Coffee" to white makes getting a focus on it much easier.
  20. gdenby

    Coffee cup

    Hi, Phil_rose, Over all, it works. "It is too early... it is still dark. Where's the coffee? Ah there!" Please take the following as being constructive, tho' rather nit picking. The bright white curve highlight on the bottom half of the cup is not evident on the top portion. It also extends somewhat below the bottom line of the rest of the cup. The highlights on the "Coffee" lettering are slightly slanted, and not straight from the side. There is no luminous gradient across the letters. To get even "nittier" the band w. "Coffee" on it also does not have any trace of a highlight.
  21. Subscription services are like eating tape worms so you can eat as much sugar as they like.
  22. Gotta say, unless I had several thousands of objects to scale, and assuming I knew how to write that script, by the time I'd written it, and gotten it to work, doing a couple of hundred manually would have been quicker. If Affinity ever gets a scripting interface, it would be great, and hopefully various kindly people will donate their efforts. I use Inkscaoe sometimes, but haven't needed this facility. Is it sort of batch resample for vector objects on a page?
  23. Hi, JASN, The envelope warp tool is much requested, and according to reports, on the way. Do note that it took Adobe 10 version upgrades to have it, so Serif's Affinity getting it before v.2 is doing pretty good.
  24. I wasn't very happy using the Apple mouse. Very touchy. Got lots of erratic movement w. the Affinity software. Tried a Logitech MX Anywhere 2. Not perfect, but better. Initially, I would get a pop-up window saying the battery needed re-charging. That stopped, and so sometimes there is suddenly no connection. Need to keep the USB charging cable nearby.
  25. Lets say you've copied some text in another app. You want to paste it into a text frame, and you already have an irregular vector shape filled w. a bit map. If you use Duplicate, the shape will be repeated. One can then change it to a text frame, and paste the stored text inside it. I suppose there are other scenarios where holding something other than an Affinity object in the system clipboard is a good thing.
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