gdenby
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Posts posted by gdenby
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I have Pixelmator, but have used it maybe once since I got Designer. Just an estimate, but I think Designer has at least twice as many features, probably more. I find Designer interface to be easier to use. For layout, Designer's vector tools are more versatile. There are wide variety of user customizable grids, many built in variable shapes, and extensive snapping options make forming and arranging objects really easy. More to learn, but most of it is easy to pick up. And tho' it is not a dedicated paint program, it is quite good.
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AFAIK, one reason to make a tute is as a personal advert. Looks good if you want work for a company/client, or to become an employee. "look how many hits my you tube got..." and so forth. The number of companies who have been using Adobe for literally generations is extensive, to say the least. So the number of self promotions is quite large at this point.
My primary reason for using Affinity is that its so slick. A real pleasure to use. The other reason is that I live in an old inner city in the "rust belt" US where there is no option for a reliable cloud connection. I can barely d-load the Affinity products. Really, and system updates sometimes take a week to be successful. Connection to the Adobe cloud for use is out of the question.
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The main reason really is how new the software is. That means not many people have encountered it, not many corporations have decided to use it in house. Some of the features that people want and need are still in development in the Affinity line.
The tutorials will come along.
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Reading back over your previous posts, it seems you have a blue rectangle over the whole of the parchment. I suspect you need to manually draw the continents as a vector, if you haven't already. Copy them. While held in memory, subtract the continent vectors from the blue ocean rectangle. Then paste the continent vectors back into the cutout space. Give the whatever hue you like.
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Ahh, I see. I thought you were asking how to use the logo vectors as a mask for the pixels noise. Opposite was what you wanted. Select the pixel layer. Following the vid, change the pixels to grayscale or black and white. There are several layer adjustment controls that will do this. Black and white, Threshold, saturation among them. Then use the command "Layer/Rasterize to mask." Drag the mask layer icon in the layers panel to just right of the logo level icon. A small bar to the right of the icon will appear, indicating that the rasterized mask will bee added to the vector components.
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You will need to convert the group to a single curves object. In this case, ungroup, and with all selected, use the boolean combine. Load the image. Select the image, and drag it in the layer panel till is is just to the right of the curves layer. You will see a faint yellow line just under the curves layer, and slightly to the right. The image is then nested within the curves area, and only what is within the curves shows.
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Assuming Photo has the same brushes as Designer's pixel persona, there are other settings. Flow, accumulation, hardness, some of the blend modes. All will dim the brush stroke to some extent.
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I too am impressed. A fine sense of design, well executed w. the tool set. Some subtle work in there. For instance, the slight curve to the petals of the white flowers.
- jer and selstephen
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I expected this question. Printing an SVG from AD to a PDF printer driver eliminates all SVG transformations like e.g. clippings. I.e. the resulting PDF looks like it is displayed in AD but without using inherent transformations. This process is called "FLATTENING". At the end of the whole batch process, the result is a flattened SVG file which is not achievable directly in AD.
Thanks for the explanation. I learned something new. Makes sense to do the operation.
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No command line at present. There's been mention of a scripting language. No ETA
Out of curiosity, might I ask why you want to start w. an .svg, change it to a .pdf, and then back to an .svg? Seems like any variations introduced by the conversion process would just multiply until there were multiple files all w. slight but perhaps noticeable differences.
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Here's is a method.
Use the pen tool, and in line mode, draw a horizontal line. Give the stroke some thickness, and then use the pressure setting control to taper on end. Use the transparency tool to fade the stroke away in the direction of the taper.
Duplicate the line, move the duplicate straight down, and repeat the duplication as much as you want. Its called power duplication. The result will quickly be a vertical series of evenly spaced lines. These can then be moved together to near the coast line. W. shift held down for constraint, shift each to the coastline.
Will be tedious. Many are waiting for a "blend" tool which will replicate an object along a path. At present, there are some cases where symbol fonts can be used to conform to a text path. Unfortunately, I don't know of a way to get that to work in this situation.
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I assume you mean the customer beta, right?
Yes, which reminds me, I think I need to make a bug report.
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I got the message to download AD 1.6 on May, 18.
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Conceivably you you invoked the menu "Edit/DefaultSynchronize from Selection" While working on an unfilled shape. Any rate, try ""Edit/Default/Factory Reset"
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Don't know about any specific books. But do a search on "Ansel Adams zones." It will lead you to many articles related to classic analog photography, but the introduction to how and why to get the greatest range of contrast is a great starting point. It is relevant to any graphic art.
Also, search on "white balance." It is less of an issue in over all image making, but is crucial to realistic photography.
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I'm kinda confused with the closed open thing you guys mentioned here.
From what I can infer, some of AD's functions, notably the boolean operations lake add, subtract,divide, etc, require shapes that have an internal area.
For example, use the pen tool in line mode. Draw a line, duplicate it, and rotate it so the two for a cross. Select that, duplicate, and move to the side. Using the node tool, give the 2nd set of lines the slightest bit of bow.
Go back to the 1st gross, select both lines, and use a boolean operation on them. If using divide, the lines disappear. The other operations do nothing. Repeat with the bowed line cross, and the operations work, but AD will automatically add strokes between the curve end points, forming a closed shapes.
Again, from inference, it seems AI automatically divides a shape when its line tool is used to connect 2 existing anchors. Because AD requires something w. an area, a straight line which is a stroke of as little as .01pt needs to be "expanded" into a very thin rectangle. Then that can be used to divide another area that has a gap of 1/7200 of an inch.
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Drawing the shapes in the example w. snapping enabled takes maybe 12 seconds, compared to AI in 3 seconds. Not too bad. Serif says a knife tool is in the offing, and that seems to be a beginning towards changing shapes by just a stroke. Due to to the way AD works now, a triangle can be divided by a rectangle with one nominal dimension of .01 pt. Both are shapes that are "closed." Doable, but drawing the shapes manually based on the geometry that is already there is a lot more direct.
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I'm not clear on this issue. Am I right that Lightroom creates a catalogue, and then anything searched and chosen is opened in Photoshop? I'm not a photographer, tho' I have about 10K files of my own amateur photos, and about 100K of various images. I've been working w. the trial version of NeoFinder, which also catalogues music, movies, text, and so forth. Allows batch commenting, searching on IPTC and EXIF data, etc. When I click on catalogue selections for .jpg files, they open in the default viewer, Preview, and I have not yet found a way to alter that. But the catalogue of .afdesign files I made automatically launches Designer.
So I have to wonder how hard it would be to find other DAM programs in the interim.
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The "thumbnail" is the small image representing the layer in the layer panel of the left studio panels.
When a shape is drawn, the context tool bar along the top will have a box/button near the left side named fill, next to the shape name, such as ellipse or curve. Click that to set the fill style.
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Go here:
https://www.cia.gov/library/publications/download/download-2008/
The map .pdfs may be a little out of date, but I suppose at least the landforms are accurate. The ones I have on hand open in AD. But you will most likely need to doo lots of editing. Literally hundreds of curves and text layers.
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Beyond what @jer said about up-sampling, that image can not scale up well. It has many compression artifacts. My guess is that it was turned into a low quality .jpg, and then somehow resized. If you zoom in, you will see all sorts of squarish blotches at every edge. Very noisy, and a procedure that will smooth those away will also smooth away the fine text, which is at about the same scale.
If you want to try upscaling, avoid any .jpg. Try to start from an image that has been sampled at 600 ppi/dpi, which is twice what the average human eye can see clearly.
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Every search of the rotation point in a construction, a really simple example is the exposure X-logo, is very tedious if the rotation center point can not be entered numerically. The coordinates would be known, since they correspond to the center of the logo.
I really can not understand that such an important and useful possibility is not realized.
I'm unfamiliar with exposure X - logo. But I think a counter argument could be made that needing to do numeric entry is tedious.
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Place 2 guides that cross at the co-ordinates you want. W. snapping on, the rotational center , v. 1.5.6, will snap there. Not too much work.
Affinity Designer for iPad?
in Pre-V2 Archive of Affinity on Desktop Questions (macOS and Windows)
Posted
Yes, w. the addition of AP to the iPad, the temptation level is increasing. I did decide to get AP on my iMac, so while I learn to use it, I may be able to stave off getting the iPad.