gdenby

Like it a lot!

Hi, Norman Kline, This is probably something you need to talk about w. Apple. I suspect you will have prove that you are the same person that had a previous account. I'm surely not a support person, but it seems you must use the same e-mail account, and set each new Apple device to the same account when first using the new device. Perhaps you did as I've done, forgot the password, and been locked out while trying to type in what I supposed might be the pass code. In my case, I was able to get to them and reset the password w/o deleting the account. Did you happen to save the billing info e-mail from the orig. purchase? That might be useful.

I'd suppose you made a bitmap from various strokes of whatever kind of Adobe format brushes, and then used that as a fill in an Affinity style. If you take an Affinity vector brush, and use it to stroke a vector shape, and turn that into a style, then you get a "brushed" outline, not a fill.

What JimmyJack did is very much like what I did. Mine were added so the gradient would be the same across every element. A bitmap fill could also be used.

What you want is what is maybe not the Holy Grail of Affinity users, but may be the Holy Salad Dish, an envelope or mesh warp tool for vectors. Supposed to show up before v. 2 is released. In the mean time, depending on what you want, you might do something like this. Add the group elements, select the nodes, and scale them as you like. Then draw another shape, and subtract that. Personally, I'm waiting for the Holy Soup Bowl of blend tool.

Hi, Nyanko, What I know about brushes only comes from using them, and messing around a bit making my own. I suspect the hardness setting changes the amount of contrast in the grey scale range. In bushes that are built from a dab that has a broader grey scale, hardness compresses that range, till the dab is all but black. See the attached example. Each set of strokes goes from 0 - 100 hardness , increment of 25. The 1st in the upper left is a good example using a basic brush included with Photo, Some others are also included, but have only an irregular shape w/o much grey. There are a few samples from Frankentoon and Daub that show a difference between hardness settings, more or less as the brush was designed. Note also, that changing the flow parameter can also have an impact on the relative strength of the stroke. In other words, low hardness + high flow approximates high hardness + lower flow.

Hi, Andy Clark, The vid tute you linked to was for A Photo on iPad. You would do it just the same on A Photo for the desktop, but the interface is somewhat different. "Rasterize" takes the vector grid and turns it into a pixel object. That is the used to form boundaries for the flood select tool, which in turn are used as areas for the HSL adjustments.

Adding a default .24 pt middle stroke of the same color masks the problem, as MEB mentioned. with many shapes using the same color, its easy to apply the stroke style to all. Also, the flaw appears only between shapes whose color is the same, or only a little different.

Hi, Nickpan, Seems to me its a cartoon that has some things in common with the "flat" interface sty;e being used a lot these days. Limited palette, mostly fairly low contrast. What the AP vectorscope reports about the color range. Mostly simple shapes, little use for the depth that shading adds. Both Affinity Photo and Designer could easily do it, either on desktop or tablet. In so far as the shape edges are so simple, it might be that using something as expressive as a stylus can be would not be as appropriate as a mouse.

Try using menu "Layer/fill mode" and switch from the default "Alternate (even-odd)" to "Winding (non-zero).

Did not know one could scrub. Good to know, Thx.

Hello, again. I was looking at the screen cap from Draw, and had a thought. I'd been working on some textured image brushes for use w. the vector brush that would emulate wood cut strokes. Tried them out, and thought they might be worth a look. They seem to respond to pressure pretty well, and this was just the 1st trial.

FWIW, doesn't seem to be a problem in Designer. See attached. Tried many different brushes, w. different tools. While sometimes there was a discernible lag, I didn't have any tiny strokes cut to only dots. Other than my fingers can't move that fine any more.

At this point, you can rotate and skew the points using the sliders in the transform panel. But no scaling yet.

As better described by firstdefence.

The nodes can be re-scaled using the transform panel. For instance, w all the inner nodes selected, go to the transform panel. There is a little grid item that lets you select from where the transform will be made. From your pic, I'm supposing the center point is what you want. And also, that you want to make the transform identical for x and y. Click on the linky thing on the right side of the panel. Then type a specific value into one of the x/y field, or an expression like *2. All the nodes will scale.

Sebastian C.'s approach works very well. As far as I can tell, the stroke pressure adjustments are only available within the document. The desktop version allows multiple pressure profiles to be saved and assigned from the stroke panel. In the iPad version, I've only been able to transfer the pressures by "copy/paste style" between different strokes. The desktop version allows the stroke pressure curves to be saved as layer styles, and available to all documents. So far I've found no way to do that in the iPad version. Perhaps a feature request is in order.

Hi, Phuuul, Check out this link. You'll see right away every phone has a different display. Ot this one, where you'll see that Apple devices differ from one another, and those wildly from a Samsung model. There are various reasons for this, but mostly it comes down to what light frequencies the specific display can emit, which in turn is determined by very specific kinds and proportions of phosphors, and the amount of time they have been used. A common recommendation for creating good compositions is to look at the range of grey scale values, as most human vision derives from the B & W response of the rods. Overall, the distribution of lights and darks makes the perception of form. The widest range is generally found to be most appealing. If you concentrate on those, color variances will not have as much impact on the final effect for viewer so much.

Hi, Hydrology, See the attached sample. Pencil work, with Sculpt turned on. Vector, w. brush dynamics adjusted to have size variation. Both using the default pressure curve.

I also found that below a certain length, using an iPencil, and various brushes w. various dynamic settings, only a single dot would be drawn. Note the area where the arrow points. Among the tiniest strokes are single dots.

Nice, and I'm sure you had fun. I still get caught up in gradient, transparency and blending play. Whee-e-e so quick and easy. But, more black, just to be rhetorically emphatic.

Hi, KarolinaBS, I've been using air drop to transfer files. My particular network connection is slower than air drop, so thats the way I go. If I have a document open, and try an air drop from the Mac to the iPad, I get one message that asks what app the drop should go to. Then I get a message from Designer saying the current open document must be closed. After closing, a re-drop works fine. I would expect assets and styles would be the same.

No gestures that I know about. You can get finger strokes alone to respond to velocity and inverse velocity. And a curious one, direction. Both w. a finger are fairly clumsy. One reason I bought an iPencil. Attached, 2 red strokes done by finger tip. The blue are w. size variability set to velocity, inverse velocity and direction.

Hi, summersara, The pixel brush size, opacity, saturation, etc. etc can be set within the dynamics panel under "More" in the brush bar at the bottom. My impression is that size and pressure are usually couple. Screenshot, on the bottom, of a couple quick strokes showing both size and opacity at default

Its been available for awhile. In node mode, select a group of nodes. From transform studio, there's interactive rotate and shear. Scaling is done the H & W values.