gdenby

The answer is not completely obvious. When there is a "curves" object, plural, it can be boolean self divided. Then each layer/object/portion may be selected, and in node tool mode, an "all" will grab the nodes. This is the same as selecting the object. At this point, the only mass change to the nodes I know of is changing between smooth/sharp. After doing a scale, or rotation, or change between smooth/sharp, the divided objects can be fused back to a single curve using other boolean operations.

i''m running a machine w just about the same specs. "Heavy" layers do take some time to finish redrawing. While I would never pass up the chance to upgrade my hardware, budget allowing, I think you might improve your captures by editing out the lag frames from the capture stream.

Yes, really nice. Care to mention the file size and the machines physical RAM?

An ordinary Designer layer can have other layer objects nested within it. Say you have a blue rectangle, and draw a red circle within its canvas bounds. To bind the two together, the circle gets dragged within the layer panel under the rectangle as a child. Symbols work pretty much the same when adding new shapes. Note: A symbol can be a shape w. no fill or stroke. Except in outline view, it will be invisible. You need to nest the new information within the symbol, or other child objects by drawing them in position on the canvas, and then place them in the appropriate layer position. Following the above, suppose you have a star shape. Drag it over any of the symbol instances. Open the instance, and drag the star so it goes under/within the symbol. Or drag it under/within the red circle. All the symbols will show the dame.

Hi, sumneuron, I looked at Concepts, but only the free download portion. That is an OK bit map paint program that also allows one to add a few simple vector shapes. Looking at the features that are offered as upgrades, my guess is that maxed out, either A Photo or Designer have about 300% more features. To get back to your original post, "I also have a question about this. I was looking at digital illustrations, which I thought were meant to be done in AI or Affinity Designer; however many people use Photoshop / Affinity Photo. Why do so many people who do digital work choose to use Photo over Designer (Photoshop over Illustrator)?" I think I could write about 5000 words about this, but I'll try to cut it short. Most people are at this point completely familiar w. photos. Any program that lets one use and emphasize digital picture(s) will be used a lot. Far fewer people need the sort of precision that architectural renderings, or well laid out text pages, etc require. So, most start using an image processor, and try bump up the captured image, and maybe add some strokes to it, and composite it with others. Fewer people want/need to create an elegant form, and maybe boost it w. some "spontaneous" gestures. In terms of illustration, both kinds are at this point equally capable, but have stylistic differences. Depends on what sort of commission one may have, and/or ones own characteristic preference. An historical perspective. In the late 1990s, Illustrator had become so much the standard for publishing that everything looked the same. Clean outlines. Smooth gradients. There were efforts to make Illustrator output look more hand drawn. Photo composites proved to be a more widely used way of making an ad look interesting.

I rarely use grids, so I'm not quite certain what you are trying to do. My understanding is that when there is a plane set, the perpendicular and horizontal axes need to be checked for snapping. Tho' the grid intersections in the various views don't match, when lines are drawn, they will get a high-lite color when they are perpendicular to the axis that defines the grid, and a projection line will appear when new nodes are lined up in the plane w. a previous one. One is not snapping to the grid, but to the points.nodes of the shape being drawn in that projection. I'm using the 1.6, beta 8.

Hello, Fahad Javad, The JF-17 is well proportioned. One can easily see how all the parts fit together. If you would like to make the image look more photo-like using only vectors, check some works like these: https://forum.affinity.serif.com/index.php?/topic/43997-dream-car/#comment-221003 https://forum.affinity.serif.com/index.php?/topic/25272-edison-bulb-i-find-doing-these-little-projects-is-best-way-to-learn-an-app/ There are more if you dig back thru the history. The best examples have the vector work as well as the end result. A very few show how the vectors are made partially transparent to add a fade away glint layer. The technique can also be used on non-mechanical drawings. One might shade a cheek, or add a glow to an eye.

The original shadow looked weird to me too. Maybe from an odd lighting angle. Any rate, fine work. Next, you need to put in the promotion model. I'm thinking the Julie Newmar Catwoman, sitting on the hood, flicking the windshield with a finger, and a script phrase like "Why Batman, when I hear this roar, I want to purr..."

Strange. I did the same thing just now. Basic brush, 128 pts, dynamics for size set to zero, but controller random, I get the same line from my finger as the pen. If I start changing the dynamics, the pen rarely gets as big as a finger press, and it wavers. Reading around, about 2 years ago there are questions about the pressure sensitivity, and there were some bugs that caused blobs that appear to have gone away with an iOs update. The only recent numbers I could find doing some searching is that the iPad senses when a pencil is in use, as opposed to a finger, and doubles the response rate. But nothing about adjusting for pressure.

Had some problems. My keyboard gets stuck in endless repeats. Had to do multiple reboots of my main system. Messed up a bunch of things. At this point all I can say is that with "none" selected for any of the dynamics settings, both finger and pen give the same results. If size is set to 100%, and pressure is the controller, the pen will never be quite as broad as a finger. But the controller "random" gives me the same result for both finger and pen. My fingers at this point are quite clumsy. So I can't make any stroke to compare. All finger strokes are as broad as can be. But I wonder if the mechanics have to go to max in the absence of a stylus.

I'll get back on this shortly. I am very much a novice with the iPad, and need to figure out how to work w. Screen caps. But I'm seeing that the 'none' controller setting only makes a difference between finger and pen if the size variance is also set to 0. With both size variance and controller set to none, my finger and the pen make the same line. With any size variance and pressure being the controller setting, the pen can draw a thin or broad line, but the finger is always broad. I suppose the tablet reads the finger as max pressure and/or area.

Hi, The Dingo, Tap the "more" button, and check the dynamics setting. Size change should be set to zero if you don't want the brush width to change depending on pressure, tilt, etc. The brush illustration at the top of the controls shows what the brush shape is depending on the setting. You'll want a plain line. One of the nice things about the pen for different uses is how extremely sensitive the pen and iPad are. With the right settings, one can go from hairlines to sweeps in the same stroke. As a BTW, there is a forum section specifically for Photo/iPad related questions.

Draw the whole figure with the segments touching each other. Easy to do w. snapping turned on. The nodes of 1 will snap to the position of the adjoining one. Copy all of them. Paste the duplicates in. Make their fill "none" and give them a square end, mitred stroke of whatever size look good. Then use the expand stroke command, which will turn the strokes to outline shapes that can be subtracted from the underlying object. lines in open areas, or that don't form a periphery can be drawn w. the pen tool, and those expanded and subtracted. Not the expanding a stroke works very well with hard angled strokes. Rounded ones can have very many nodes added, which might cause later difficulties.

Nest the .jpg layer in the vector. Select the image layer and drag it to the vector layer just to the right of the vector thumbnail. A horizontal bar will appear showing that it will become a "child' of the vector. It will then be clipped by the vector edge.

Yes, from what I recall reading, the stroke generation goes from the 1st thru to the last node. If the routine does not automatically extend the line from the last node back to the 1st, then the stroking has no way of telling what might be an inside or outside, and so offset the stroke generation from the vector. What Hangman noticed was that the stroke dialogue doesn't indicate the current open or closed state, and continues to show the initial closed object setting. S'pose it would be nice to have the options greyed out for open vectors.

Thanks, and any one is welcome to the method. Only took me a bit of time wondering what the proportions of the original sample were, then faking it came to me pretty quick.

From the land of almost ridiculous work-arounds... New File, 8.5 x 11, portrait. Grid, automatic. Snapping on. Select pen tool. Open stroke dialogue. Set pt size to 32 (just under a half inch.) Open pressure diagram, and taper the stroke to about 10 - 15%. This produces a line as seen below. Draw line in polygon mode, snapping up 1 grid point at a time till there are 11 horizontal section. Expand stroke. Draw a rectangle that overlaps the verticle end section. Duplicate, move to other side, and add. Subtract the recangles from the expanded stroke. Copy resulting curves, and flip horizontal. Select both and add. In node mode, select center nodes, and delete. Color as wished. See, nothin' to it.

Gotcha'. I knew there had to be something I hadn't clicked on.

I'm not sure if I'm understanding. What I was trying to illustrate is that if one starts drawing using either smooth or smart nodes, one can toggle to make the next node(s) sharp by pressing alt or option depending on the platform, instead of control. One does not need to go back and select the nodes to turn them sharp. Having never used Sketch, I don't know what it does that might be different, other than changing node types on the fly is accomplished by CTRL, instead of alt/opt.

Been trying to come up to speed w. Photo on the iPad. While I've found where to change the stroke weight on vector objects, thru the Pen tool, I haven't been able to find a dialogue for changing color, mitre, etc. Anyone know what or how to tap? THX

You don't need a separate shape, the shape needs to have a stoke aligned to outside. It can be very small. .01 pt, for instance. Shapes w. the same color can all be selected and changed. There are multiple threads on this, but I have a pot boiling....

This is a know rendering problem, and has to do w. the rasterizing routine. The standard work around is to put a stroke aligned to the outside of the fill. If there are defined swatches for the document, all the shapes can be drawn snapped together, and then the fill tool can be used to color groups of shapes w. their strokes altogether. Post have mentioned that the fix is not trivial.

Doh! Been working w. this for months now, and never even noticed the menu option. Which goes to show how little I've needed to lock things. But still,

Hi, desult, I used Illustrator layers a few times when they were 1st introduced, and from my recollection Designer works quite a bit differently, tho' it achieves the same ends. I'm a little uncertain about your 1st questions. My guess is that when you have selected a layer, you have not then activated the "insert inside" widget before drawing the next shape. One may also just draw an object, and slide it to a different position in the layers panel to achieve the same thing. I'm not sure why your bottom most layer is locked. Default is unlocked, unless it is a background image. AFAIK, layers can only be unlocked from the panel. I.E., no keyboard shortcut Locking makes the layer immobile, but still editable. The term layer in AD is rather loosely applied to various things. Most often, it is just the term for a vector object. By default, each object as drawn gets its own layer, and is placed upon the previous layer, giving it visual precedence. But new objects can be placed inside the previous, on they can manually be dragged within. There are also pixel layers, which accept paint strokes. Pixel layers may also be nested within other pixels layers. Both vector and pixel layers can be nested within each other. The "children" nested within can be locked, meaning they will not transform if the parent is transformed. Layers may be grouped, but the group must be opened in the layer panel to change individual elements of the groups. I'm sure making a transition will be awkward. Its very hard to overcome ingrown habits. Keyboard short cuts are particularly irksome. For instance, in some apps, command D deletes, and in others, it duplicates. That can cause all sorts of headaches.