gdenby

Glad you like it, Alfred. Its fairly uneven, in part because I haven't had any long stretches of time for the past few months, so I couldn't quite get into a groove.

Hi, all, Something I think is worth showing before I put it aside. This is a transcription of a photo by Greek brothers named Zangaki, who worked in the later half of the 19th century. They are noted for there documentary work in Egypt. I came across their work about 8 weeks ago, and was impressed by the quality of the photos. My image was drawn from several reproductions, and the subject was sometimes identified as a scholar, or professor from Cairo. What I'm showing is a third iteration. Earlier ones used my own vector brushes, and/or various blend and opacity manipulations. Some promising effects, but definitely not ready for prime time. What is shown in this is AD pencil lines w. curve pressure variations. Mostly done with just a mouse, but some w. a Huion tablet. The layers were duplicated, and gaussian blurred to make the image somewhat more like a traditional ink on paper where the media bleeds a little. I was trying for something like I used to do w. crow's quill pens, or fine sable brushes. Time to move on to apply some of what I've learned to another subject.

Hey, bodobe, You do too much good work. Post something crummy so we others don't get to depressed.

Hi, Luccas Greco, Just about to reply, but will agree w. the 2 previous replies. The chance that you could match the color of the shirt's fabric dye w. a printed transfer are really small.

Impressive work, Thanks for sharing the file. Diving into the details, have to admire the very clean work at the smallest scale. Fine execution.

Hi, tkaa85, The unit is based on the document, and can be changed at any time. With nothing selected, there will be an option in the context bar at the top called "Document Setup...." You can change units back and forth as you like, and all the shapes will be re-enumerated.

The way I've come to think of the booleans is that they work with areas, implied, or explicit w a closed shape. So straight line vectors fail because there is no area under them. Any visible stroke is only something "painted" onto the vector, and defines no area unless created by the "expand stroke" routine.

Note that an expanded dotted line can also be used to cut into the base shape.

Hi, zychoo, I still use GIMP a lot, but like like GabrielM, think Designer would suit your needs well. There would be a learning curve, but once you are thru that, you'll find the program is really well organized. Attached, and example of something similar to the work you linked. Took maybe 5 minutes, even tho' I'd never tried anything like it.

Ah, an Apple system font. Easy-peasey Artistic text tool. Set all caps, type. Convert to curves. Draw rectangles or polygon curves over letter shapes. Make sure the rectangles, etc are above the letters in the layer hierarchy. Select rectangle(s), select letter, boolean subtract. 4 letters shown below. A bit better, draw all subtract shapes, and add together. Select all letter forms, and add. Again, make sure the subtract objects are above. Cut all out at once.

Hi, mandoman4 "Studios" I would suppose might require a font. The rest can be fairly easily made from simple geometric shapes. Rectangles, the Affinity "donut" ellipse, specifically. There's too much anti-aliasing in the image for me to tell, but it appears some of the stroke widths might be thicker than others. Assuming you know the stroke proportions, it would be pretty simple to get what you want by using the above shapes, and boolean operations like add, subtract and divide. You might need to tweak a few nodes to make the swells of the C, B, & Rs. I did an approximation of the first 5 letters in about 5 minutes. If you have a font to start with, convert the font to curves, and then start cutting away by making appropriate shapes to subtract from the geometricized font.

This is very strange. Are you saying that when you select the brush tool the app is automatically changing to the erase tool? So clicking on the brush icon erases something that is already on the pixel layer? Or maybe the brush is overpainting with white? Check the color selection. And again strange. There is no eraser in vector. The vector brush might also fade away anything there if its color was set to background white. Look at the layers panel, and turn off vector brush curves. If the problem is that you are painting w. white on a white background, when the layer is turned off, the underlying image will re-show.

Aside from the chest hair, and shades, looks just like "David." I don't use AP much at all, but here is an offering. Walt Whitman's death mask, on a black back round. The marble texture added 1st as a soft light blend, and 2nd, slightly resized as a multiply blend. The whole thin adjusted to partially desaturate, because the old plaster mask was yellowed.

If the objects need to remain at their positions, it can be done via transform dialogue and equations. Do the math for the percent the square needs to be resized. Set transform point to center. Enter percent, proceed to each object in turn, and repeat.

Certainly AP is far better for photo editing. But AD does much better for vector. In addition to what has been mentioned. the vector brush used with custom textured image brushes can produce remarkably varied and adjustable strokes. The pencil tool is quite nice for creating freehand vector shapes. While I do most work in AD, I find the few things I need from AP are worth the money I paid when I need the capabilities. I suppose you will find the same is true when you need Designer features.

Hi, vitaprimo, Not surprising you are getting desperate. AD has a way of forming shapes that can be hard to understand. Illustrated, a donut shape circle. The shape converted to curves, those self divided, which results in 2 filled circles. This happens whenever objects w. holes in them are self divided. But the last part of the illustration shows that the hole can be remade by subtracting the smaller circle from the larger circle on the layer below. Your file seems rather complex, and there are other unexpected things happening. I suppose there are at least 2 other problems you are running into. At present, AD does not have a knife tool, and a simple stroke will not work. You can make a stroke, and expand it, and then do a subtraction. Hope this helps.

Hi, hannah, The quill pen look is not controllable by up or down direction. The size variance for vector strokes is due to velocity or pressure changes. The bit map brushes in paint persona will vary if the base map has a rectangular-ish shape, like a real nib. You can adjust the vector brush thickness via the pressure setting in the stroke dialogue, but that only changes the width along the length of the stroke. Again, not in direction. To get something more like a calligraphic form in vectors, at this point AD strokes would have to be made one at a time for each direction the letter form has. Not convenient, but do-able See attached for an extempore attempt. W.afdesign

Well, I had fun on Caturday. But back to the pressure profiles. Some that I've turned to styles. They can be assets also, but the illustrations are even harder to recognize. For something like this, a simple circle might be better as the default illustration.

Hi, pandawid, It is not a bad habit, it is a necessary skill. I started making vector drawings nearly 30 years ago. Despite the great advances in translating raster graphics to vectors automatically, I find that I must still do manual finishing work. Sometimes, the automated tracing functions just do not work well. I spend about as much time processing the raster image to prepare for a trace as I do correcting the output. One must be able to form curves manually, and practice makes the process so much easier. And in the end, you may have the skill that all graphic artists used to have, the ability to draw.

You can also apply a gradient to a stroke. In this case, should not be too hard to get a match. But as Alfred said, why not try and add them all to make one object.

Hi, michael50, 1. Select an object. Use the "show rotation center" widget along the top bar. Position the center to where ever you would like the shape to rotate around. Manually rotate, or use the Translation dialog for numeric input. 2. Assuming you mean flip an object relative to an arbitrary line, and not its own bounds, this must still be done via manual work arounds. Typically, a second object, a small circle, or thin rectangle can be placed outside the object to be flipped. The 2 can be grouped, and flipped as 1, duplicated, and moved till the 2 groups are at their common bounds. They can then be ungrouped, and any objects not needed deleted.

Hi. Sirenetta, What firstdefense describes is the way to go. I've spent the better part of 3 weeks working on various Textured Image Brushes. There are many possibilities. Prior to that, I also played around w. making lots of pressure profiles. Here's is something else you can try while getting the hang of making brushes. Duplicate you shape a few times, and start making new nodes and breaking the shape into line segments. That way even a single pressure profile will be replicated w. variation, and by modifying the opacity and blend modes, quite subtle effects can be had. W. multiple pressure profiles, one can approach the same effect as the Textured Image, and still retain pure vector qualities.

Hi, warg, I happen to live in an "underserved" portion of the 'net in the U.S. One reason I have been extremely happy w. the Affinity apps is because they work just fine when I have no internet connection, or it is so slow as to be useless.

I'm having trouble visualizing what you are describing. Can you post a screen grab? You certainly can select and move nodes from multiple objects at once. See attached:

Hi, SMB73 Assuming all the ellipses are vectors, select one, and add an outside stroke. Copy that objects, select all and edit/paste style. If not subtle enough, use the outline fx, which can have transparency, and/or outer glow