gdenby

Turn off "wet edges." That sort of turns everything to watercolor. Oh, I see Lee beat me by a few seconds. It is the obvious answer. See attached, left wet, right, dry.

Hi, Pawl, Nice! You may not know how to draw, but you have a good sense of design. There was a post a month or so ago that linked to a presentation about scales of detail in game software images. I can't recall what the topic was. perhaps someone may point to it. My recollection is that there was a broad preference for images that had large, medium & small elements, and that within each, the same preference applied. Accepting that, the finest dotted line you made is perhaps too small. My intuition is that the red lava teas are about as mall as any element should be. I'm dubious about the gradients. For larger elements, they seem to work well, but for smaller ones, I'd be concerned that it would introduce irritating noise.

I think I understand what you are asking. Looking at the file, I see you have a set of letter curves that are set to have a white stroke. Select the last three, ALL, and expand the stroke. Do a boolean add to form a curves object. Add the baseball parts together. W. the ALL above the baseball, perform a boolean subtract, which will carve the expnded strokes out of the ball.

I'll look that up, thanks.

It wasn't called the "Giano" when I bought it. It was just the biggest they offered, and had specs similar or better to the Wacom's I had owned a few decades earlier, but at a fraction of the price. I got the Huion because I hated working on the relatively small area that the old Wacom's had. I had and Intuous 1, and then an Intuous 2, 6" x 8". I wanted something with an area that allowed the drawing to proceed from the elbow, as well as the wrist and fingers. The Huion does that. My current work space is quite cramped, and it is somewhat too large to work with. Not really a problem w. the tablet. The 2 down sides. As I mentioned above, the iPads screen is too slick for my liking, but I found a surface that helped that. The Huion is worse. Skating on ice on roller skates. I suspect that one could track down a source of the plastic covering that adds some drag w/o dimming the display noticeably. Would be nice if it was offered as an option at purchase, as putting the stuff on is not very easy. I hardly use the buttons. I don't use the tablet often enough to remember what I've mapped to the buttons. But the big thing is they are black like the tablet body. I most often work in a dim room, and my eyes often can not see the buttons clearly enough to press them reliably. It would not look as slick, but for my use, making them a pale grey w. a number on them would be so much more usable than tiny black rectangles that can only be seen in near daylight.

By dynamics set to 100%, I meant push the slider to 100% on accumulation and flow. This is not a feature I use, so I looked into it a bit more. I noticed 3 things. If I'm using a mouse to draw the line, the mouse speed must change dramatically. W/o an almost complete stop, one can get the long fade from the beginning to the end. My initial example was using a Huion tablet, which gives a response much more like what you want. In the attached, I changed the response curve from the default. This can add more evident changes depending on the curve. In the attached image, the left scribble is from the mouse, the middle from the Huion, and the right from the Huion with upward scoop variance curve. FWIW, I have an iPad w. AP, but don't use it often. It seems to respond differently from the desktop work I usually do. No sample from that. Also. I'm using a spray paint nozzle, which gives different and more obvious results than a basic nozzle.

Hi, Francis, Your post should probably be in the questions section. The "feedback" in this section is more for discussion of how a feature is implemented. But... Using Designer in pixel mode, note the attached image. The settings you want to change are in brush dynamics, and yes velocity inverse does the job. The 2 strokes I show have the dynamics set to 100% and 74% for both. As you can see, the natural pause while changing direction changes the stroke.

I have a Huion WH1490. A very large surface, but not as pressure sensitive as Wacoms. I was having problems getting intermediate line weights, and did improve it somewhat by tweaking the driver software. Part of the problem may be my old fingers are rather clumsy now. I also have an iPad and Apple pencil. Its an order of magnitude better. I topped it with a product called "paperlike" which both protects the screen and adds a small amount of drag, so the pencil tip isn't skating all over.

Hi, JeremiahDirt, I did have art schooling, and was a practicing portrait painter for some years. I did do some black and white "comic" style art. As I moved into digital, I became interested in various traditional design motifs, and so spent many hours translating crummy early .jpgs, my own scanned B&W photos, later crummy digital photos, scans from old pattern books, etc. Here's some of the things I learned. Most work for reproduction benefits from being made on a smooth surface paper, w. high whiteness. I started out using standard Speedball metal nibs w. India ink. I tended to work on rather inexpensive stock, tag, cardstock, bristol board. I moved to technical pens, and finally just used fine tip brushes. All of these can produce very crisp edges, which scan very well. When they became available, I started scanning at 600 dpi. Here is a typical routine. Check that the scanned image doesn't have any smudges, say from erased graphite. Do digital erasing. If the original drawing had areas that were less opaque than others, do a threshold adjustment to make the image nothing but B&W. Most likely that will make the form edges rather jaggy. If auto traced, those will make an image that will take hours to simplify. Better to then add a small amount of gaussian blur, often as little as 0.5 radius. When zoomed, the edges of the shapes should be smooth, but slightly fuzzy. When auto trace, most of the software I've used in the last 10 years or so will have various setting, such as threshold, and smoothing, which will clip off the fuzziness, and try to make a simpler set of vectors. Note, you almost certainly will need to clean up the resulting vectors. In your sample image, all the little speckles and slightly jagged lines would turn into blobby masses, 'cause the vectorizing process tries to wrap a curve around the mass off dabs. As mentioned, sometimes it is faster to work by just tracing vectors over the scan. Pens and tablets are pretty natural feeling at this point. Also, given the resolution one can work at, and what can be reproduced, lots of people don't go vector. A digital painting works well enough. My daughter does free lance covers, and is collaborating on some graphic novels, comics, and find Photoshop painting adequate.

Works pretty much like in the PS tute. Load a back ground. Add a logo vector above it. Load the texture, and rasterize the layer as mask. Insert into logo layer.

Hi, pitygacio, I don't understand why you are getting "everything goes black." Cutting a vector shape using the node tool and breaking a vector 2 times at different locations should produce two curves that Affinity considers "open." They appear w. the original objects fill and stroke attributes. If you later do various boolean operations, the attributes of the lowest in the layer hierarchy are transferred to the results. Perhaps that is where the problem originates. The divide operator will make all open voids a black filled shape if the bottom most shape has a black fill.

Hi, dizeyner Having no prior experience w. fireworks, I don't know what i'm seeing in the 3rd portion of the image you posted . "this is what i'm left w..." Can't tell if it is a vector or a pixel object. Can you post the file? Designer does have a "feather" operation for pixel selection. It has gaussian blur effect for vector objects, as mentioned above. I have no idea about which of those may or may not work to convert your files. Think what you want is possible, but do fear a lot of re-working

Hi, TestTool, This is v-e-r-y interesting.There have been lots of posts talking about what appears to be an anti-aliasing artifact problem when objects of the same color butt each other, particularly if there is an underlying color. Mentions also of slight problems w. snapping. Assuming that you meant 1000.000000000 instead of 1000,000000000, perhaps you have stumbled on a way of clearing up this small but pesky problem. My assumption is that adding in the extra extreme precision requires the code to ignore the parameters for anti-aliasing.

Speaking as someone who has to run Inkscape under the XQuartz windowing system on a Mac, I'd have to say the on screen response is not good at all. And, I've read comments indicating that the XQuartz project itself may be fading, as there has been no update in about 18 months. Inkscape has a bunch of features not found (yet) in Designer. But on the Mac side, the interface is so hard to use that over 15 years of intermittent use, I'm still often at a loss for what to do. I guess in common use, I'd have to say that Inkscape's learning curve is way higher than AD. If you already are comfortable w. Ink... and it gets the job done, sure stick with it. I keep it on my system and thrash w. it a bit often enough. But Designer, once you get the hang of it, is remarkably easy to use, and on my hardware, fast enough that there 90% of all operations are done with no lag, or ones that are at best a few seconds. And, from my perspective, Serif's fees for Affinity product are nominal.

The layer order is incorrect. You placed the 100% opaque color over the text. Switch positions.

It is possible. Save them as a style. I haven't quite figured out how to get the line weight set so that it is transferred to other lines consistently. That is, I had a few that I tossed that always came out really fat, and just noticed one that transfers at 0 pt. line weight. They can be adjusted after application, but it is a little irksome. Also, since they are bound to the cog shape, it is often hard to tell what the pressure curve is like from the style thumbnail.

Easy work around. Just use line pressures on pen strokes.

Hi, jgowrie, I came at this from a different direction. I've been working w. image brushes, but what I've learned so far is not enough yet to let me make a brush that would always give exactly 70 sections of pattern. I messed w. the problem a few times, trying to find a way to power duplicate the motif in a circle. Ended up making 2 70 section polygons, and drawing the form starting from a shape defined by the 1st section of the outer poly, and extending to over the next in the inner. Then moving the rotation center of the drawn form to the center of the outer poly. Then power duplicating it 5.143 angle X 69. Had a number of problems. My shape, based on the very pixelated and distorted image you posted didn't work quite right. So I changed the shape to a symbol, so I could tweak the nodes, and get a reasonably even set of sections around the periphery. Put some fx on the symbol group to make it look a little more photo like. If you like, examine and use the included file as you like. RopeBorder.afdesign

In the days of the creation of the Elder Scrolls, when the indexed palette was the foundation of the world, presented by the Hierophant to the blessed few of the Tiles of Nümerica... The ability to down sample colors was, in my experience, always very iffy. Maybe the algorithms are better now, but often enough, they used to really skew the colors, and having to step thru several options was not only tedious (closest hue match, closest luminance, favor warm tones, etc), but often futile. Better to just draw the pixels you wanted from a well designed palette. I wouldn't mind having the capability mentioned above. I still do use GIMP. But I think I've used GIMP for indexed color work maybe 2X in the last year. 'Self, would rather the development in AD go to the vector work w. blend and warp. AP, stroke brush along Vector/Selection path.

firstdefense, I see the faint blackline at the base, but nowhere else. When I try recreating the file myself, I do get the faint line. In my attempt, if I make the circle that was the cut out .02mm larger, the line goes away on a portion of the perimeter. If I move the circle +.01mm, the position of the faint line changes. If I increase the circle size another .02mm, the faint line continues to be visible at pixel size until I'm zoomed to 700%. During the zooming process I can see pixels that a redrawn to an antialiased grey. I noticed the center of the circle was .01mm off the center of the cut out rectangle. After moving it, the line disappears at 400%. I also switched to both pixel and retina pixel view, and get a very obvious, and less obvious anti-aliased line. The only major difference I can find between your file and my attempt at recreation is that in mine, the circle is on center w. the rectangle, but in yours it is not. This seems quite curious.

Hi, Frank Griffin, I don't know exactly what you meant, either from you description or the sample of the tiny .png file. I was supposing you might want either something like a grainy CRT's scan lines, or an old 8-bit computer display. Any rate, here's what I managed. Took a photo, blurred it slightly, and placed it in the screen shaped vector. W. the grid turned on, and appropriately sized, I drew a square over 4 grid squares, and power duplicated that horizontally, then took those and duplicated vertically, making sure each square was fitting on the grid. A used the boolean add on the array, and then filled that w. the same image. Placed that above the image within the vector, and made it partially opaque, and changed the blend mode. Duplicated that, and off set it by one grid square. Did that repeatedly, changing directions and blend modes. Eventually had a batch of mostly averaged square "pixels." Add a levels adjustment to bring back some contrast. Maybe this will set you off in a direction you can use.

Hi, Steve813, I'm not very qualified to offer an answer. I haven't used Photoshop in at least 7 years, and not much at that time. I've been using GIMP a lot, and for some years earlier, Corel Photopaint. I can only say based on limited background, AP is much easier to use getting a clean clip of items from background than anything I've used. You can d-load a 10 day trial, so give it a whirl.

Stuart_R, Thanks for the reply. I'll inquire how they are printing out the transfer designs. A fellow paid them for some work by trading an older model iPad Pro, which should run Affinity.

Hi, Wagner, This is an important beginner question. Affinity fills shapes when they have a vector perimeter. Every pencil stroke might have a fill if they enclose an area. The first example would be one of those. The other has four vector lines are separate on their own, but together do not enclose any area because they are not actually joined. You need to change how you think about the way you are drawing if you are using the "draw" persona tools. The "pixel" persona works differently, and might do what you want after the space was filled w. white, and then painted over with "protect alpha" checked, so the unfilled space could not be painted on.

Didn't notice your work earlier. Yes, like the others, so fine. Referencing an earlier post, my elder daughter and SIL do tattoos. Working long hours with Affinity is likely much more pleasant than long hours bent over sweaty bodies that need to be kept sterile. But if you do happen to do tattoos, any info on how you translate your work to the transfers? My kids at present are using Gimp and Inkscape, but I'd love to give them a license for Affinity.