gdenby

I had to do what R C-R described. Just had to re-assign the files to the purchased version once I had moved on from the betas. Hadn't even given a thought to the dormant beta.

AFAIK, the 2 Affinity apps do not do data merges of any kind, or data imports at this point. For the example you gave, there is a method that is fairly easy. Create some text strings, "I love" "X", "X", "X". Make each a symbol. The "X"s can be renamed animal1, animal2.... Save those symbols as assets. The symbols on the page can be changed all at once. But when the symbol asset is pulled back into the document, it is still in its original form "X", and can be changed to have different text and/or new sets of attributes. This can be done w. any number of items.

Hi, Phojoegraphy, I was able to air drop a swatch file, and the swatch file showed up in the "files" window. But nothing showed up that I could find in the swatches. Then I air dropped a file w. a document swatch. I had to close the current opened document, and then the file came thru. At this point, I have at least the document swatch file. Gotta go do something else, but try closing any open document, like a blank canvas, which seems to drop it from the file list, and then receive an air drop.

As of 10:16 am, US eastern time zone, in my inbox, "Buy Now." And done!

I took the opportunity to test Designer, and within 3 days of d-loading it, had purchased it. Give 'em a try. Designer does do basic photo manipulations, such as contrast, white balance, HSL, etc. It will export the image in whatever format one wants. But AD and AP are set up to be complementary. I don't do much photo work, but there are times I need to continue work I started in Designer within Photo. While both have a learning curve, I find Photo to be a much more complex piece of software.

I could afford a $$$ software, if it didn't chain me to producing a continual revenue stream. So I don't. From what I can tell from the screen shot, the shapes are not quite perfectly aligned. Affinity is rather fussy about that. Very very small variances will produce object artifacts. Dividing, and wiping those out is one resolution. Selecting the nodes manually and deleting is also often doable. If in node tool mode, individual curves will have a red node dot associated w. the singular curves.

The history keeps a record of every transformation/operation for the document. Before save, it allows one to shuttle back and forth between operations, doing as many levels of undo and redo as are set in preferences. If one wants to send a document down a different path, saving w. history will create a version. Another version w. a different name, say "Attempt 2" can have a history that is different from the point where the operations changed. This really has nothing to do w. layers other than a record of when they were made in the process, and how they were re-arranged, etc. But the file w. the history can be MUCH larger than the one w/o history. If one saves w/o history, the file will reopen as it was at the point of saving, and no undue list is available. Layers will be as they were at the save. Files can be exported to several formats, .jpeg being one. Any number of layers can be included in the export slice. The export appears to me to be a grab of the screen saved in whatever format chosen.

joelsherring, You might want to do a search on "Affinity Spotlight," and check out some of the artist's work showcased there. There's a fine Frankentoon designer tute, among other things. Also, check out the forum section "Share your work" for a peak of what people are doing, some of it w. direct business intent.

Hi, Natalie K, Shapes in Affinity Designer are defined by a series of co-ordinates that are set down from the 1st to the last. This can be called a path, tho' the software will call both a sharp edged path and a smooth rounded shape a "curve." Or, in some cases "curves." One should not confuse these paths/curves with a mark on the screen. If one switches the view to outline, one will see a skeletal view. Nothing but a thin black line formed by the various nodes, which would appear if using the node tool on the object(s). From this base, Designer can assign both a fill, and/or a stroke. Depending on what tool was used, and what parameters are activated, there may be either a solid plane shape which is only a fill, or a line that is just a stroke. Many users assume that seeing a stroke is a shape all by itself. It is not. It is only the stroke aspect of the shape, which has a start and end point whether those are joined, a closed shape, or unjoined, and open shape. On open path can appear as an unfinished perimeter. If one uses the "close path" widget while using the node tool, the 1st and last nodes will create a continuous perimeter. Hope this clarifies.

Most of his work, which was the finest pulp out there, went out of print. My copy of "Tiger!" fell to pieces, and it was maybe 15 years before I could find a re-print. Supposedly, it has been optioned for a film. As time goes by, it will seem somewhat less astonishing, but some of the special effects would still need to be on the order of "Valerian" expensive. And the protagonist is, at 1st, a monster of revenge and totally immoral. If the screenplay was faithful to the original, the rating would probably be abysmal. Erm, sorry to drag the thread off topic..

In "The Stars..." humanity has learned to teleport, but one has to know where one is to start. And, from recollection, it helps to have a notion of where one is going. Business board rooms are within mazes, and prisons need to be lightless warrens, so one never knows exactly where one is.

Hey, I've read several by Lem, but not that one. Read "Solaris" several times. I recall "Cyberiad," and know I had a few others. Alfred Bester got the 1st Hugo award for "The Demolished Man," but my opinion is that "The Stars..," is completely outstanding. Pure pulp action, but revelatory. The publisher had to create fonts to print a few passages. Trying not to give away too much, but the terrible Burning Man is a stroke of genius. The original title was "Tyger! Tyger!" following Wm Blake's poetry.

Here's what I know. The only licensing issues I know about are for using multiple copies for a business. The work produced w. the tool is your own. Affinity exports to standard file formats. The ownership of those is between you and the client.

Good work, would make a decent book cover. Err, are books still printed? You make me feel so ancient. I played Bungie's Marathon, but Destiny, Grand Designer, Modo, had to look it all up. The tools keep getting better. Having started reading sci-fi in '57, I have to ask, have you ever read "The Stars My Destination"?

Like a line of musical notes.

Or a curves adjustment on a grey scale .tiff? No need to fill, just adjust the grey levels to a color tone.

Hi, nataliehuga, The image you posted is a .png bitmap. While it is probably from a vector file, it is not one itself. I ran the image thru a 3rd party vectorizer, altho' it would have been easy enough to recreate from scratch. Once the vector shapes were made, it was easy to group them by color. Grouped vector colors can be changed en masse w. the fill tool. Click the group, change to the fill tool and select the fill/solid option from the context bar across the top. Then click on the color well to change all at once. Vectorized.afphoto

Here's my go at a process. Hope the brief description of the steps suffices. Load image Denoise, denoise, ... Duplicate image, shift +2 pixels set blend to difference Merge visible Duplicate image, shift -2 pixels set blend to difference Merge visible Turn off image copies Change 2nd difference merged layer to add Merge visible Adjust HSL, desaturate Invert adjustment, hard mix blend Brightness/Contrast to reduce remnant grays FloodFill w. black, which the invert adjustment turns white. Depending on the image, slight variations to the adjustments will be needed. If its B&W to begin, obviously no need to desaturate.

The selection brush w. snap to edges turned on will quickly grab the background. Then "Edit/Fill" will replace the shaded areas w. a flat color.

When I open the file on my Mac, I see no faint lines at any level of zoom. I do see that the art boards are not positioned at integer pixel values, but I cannot see any change when I reset the position to integers. There is a known screen rendering problem when shapes w. the same color are side by side, but those don't render in exported files for print. But again, I'm not seeing that at all from the start.

Are the purple lines showing up all across the screen? Across all windows? Or is it only in Affinity? There is a setting for showing snapping candidates that high lites shapes w. purple lines. Other forum members have wondered about this too.

The little machinery details are real attention grabbers. The gradients on the chiseled letter are quite fine. Slightly unfortunate that they get lost a little for those of us who like a sharp font.

Hi, Paul Gray, Neither AD or AP have an auto trace function. Evidently, neither does Procreate. This ability is often sought, but the Affinity team has said that they will only implement it if they can come up w. a way that does it better than what is already available. There are online services, freeware Inkscape does it, tho' on Macs Inkscape does not run very smoothly. I bought a cheap utility, about 7 USD that is very easy to use, but not as good as Inkscape, which is more difficult. Often, the results from auto trace from any app I've used require lots of cleanup. It is, in fact often easier to do a manual trace as Lee D mentions.

I'm perplexed. You were asking about how to fill a square w. dots of different sizes. But the next image was what appears to be an 8-bit dither of a fade across a gradient. AFAIK, AD will do it, tho not all pixellated. I suppose AP would do it also, but I wouldn't know how to force an 8 bit dither.

Another approach. Use dotted lines. Set any point size, set spacing, set phase, shape lines an dots will adjust. Use expand stroke to get individual objects if you need them. Dot Arrays.afdesign