gdenby

What .pdf option did you choose when exporting? Was the image flattened?

Picasso replied to a questions w. something like 'Of course I steal. Everybody steals. But the mark of genius is knowing who to steal from.' And then, slice and dice to your heart's content.

I'm using a Retina display iMac. If I add an internal stroke of greater than .24 pt, which corresponds to 1 screen pixel, the line disappears to my eyes until I'm zoomed in to about 3000%. And then what appears is an intermitant grey streak, not a continuous line. I don't have a printer at present, but I have to think that one would need to use a magnifying glass to see anything on paper output.

Here's my suggestion. Go with the grey, but change the gradient. Make it radial, not linear. Then change the gradient to almost white to pale blue like the sky. But position the white over the upper wing, and the blue over the opposite. That way the eye will see the feather shapes as being a different color across the range, and the silhouette of the plane, being reversed from the sky, will pop out better. While there are "artistic types," the old saying "Art is 5% inspiration and 95% perspiration" is more or less true.

Very simple. Draw a white or pale grey filled rectangle. Make it less than 50% opaque. Duplicate it, and change the duplicate layer to text frame. Set the opacity back 10 100% so the text is solid.

Nice work bringing the old pixel pics 2 a fuller illustration. My kid's started CG in part by copying their favorite game characters and game backdrops. I've messed w. Inkscape on and off for years. Not the easiest app to use under the X-windows system on the Mac. AD is quite remarkable to me in the way one can do vector work, and blend it with pixel painting, and adjustment layers. I'm not quite certain what you are referring to with applying patterns to vectors, but one cool thing is using the fill tool, and selecting bit map as the fill. If you have a tileable image, you can fill the vector with it, and set its size and scale to get the repeats you might like.

Select the i, convert to curves, last button on the right of the tool context bar

When you rasterize a vector, the form just becomes dots on the canvas, a bunch of pixels. What you should have tried is the "expand stroke" command. That will create a new set of vector lines at the edge of the stroke. Note that if the stroke is complex, the expanded stroke may have large numbers of points.

There are $10 third party exif editors. Give those authors a couple of $. Problem solved, and Serif doesn't have to waste time re-inventing the wheel.

Hi, Marcuss, Copying a style and copying an fx are 2 different things, as I think you've noticed. I'm not sure what happened w. your attempt, but I made 2 text string layers, both Arial font, but different point sizes. When I applied both an outer shadow and an outline to the larger, and then copied them to the smaller, the point sizes of the fx stayed the same. Point sizes of the effects stayed the same when I changed the font on the smaller. So I don't quite know what happened w. your case. Maybe just try again.

Remarkable 1st steps. I think AD's capabilities will help you along quite nicely.

From what little I know of AI, AD handles some of the offset path w. just the shape stroke settings. Those can be extended by the outline and outer shadow fx. A sample:

Haven't used AI in years. Never used it much. So I'm not sure what you mean by drag select. AD's node tool will select nodes by dragging a marquee over them. Those selected will move all at once if in the tool context bar "snap all selected nodes while dragging" is active. AFAIK, AD doesn't have a routine to auto vert or horiz the nodes. What I do I drag out a guid line. When 1 node I've selected snaps to it, and then another, I delete the ones in-between so I get a straight line. At this time AD does not have a blend tool that interpolates various nodes, so no reason to keep them. BTW, I'm old enough that I started working before there was a "workflow." What we called it was "line work," or "rote" work. I.E. what you did over and over on an assembly line or clerking.

Looks vaguely creepy. What is a "Tunkita?"

User Sharkey wrote on 2/22/17: "I would like to take one of my photographs and combine it with some of my words but not in regular boxes or lines. An irregular very soft-edged area sufficiently transparent to allow the photograph to come through without any edges visible... Can I do this in AP or do I need AD also?" I responded w. a quick, make shift example of what could be done using only AD, Draw persona tools. There was little depth in the presentation. I am showing here what should be a easier to understand. This deals w. making an image fade away irregularly, not adding artistic text I'm including a few samples of what might be done using the Pixel personna, but I am really not skilled enough with that mode to offer much. The image below shows variations on a photo I took w. a cheap digital camera several years ago. The caption 1 area shows the image and vector ellipses drawn on it, mostly over the central clump of trees. The ellipses have no fill, and red strokes for illustration purposes. As mask items the will be white filled and un-stroked. Capt. 2 shows what happens when the circular ellipses are added together, and placed as a mask in the image layer. They have had a 7 pt. Gausian blur fx added to soften the border transition. Many of the later exaples will have the same blur. NOTE: the areas within the vectors, no matter what tone, define what portions of the image will show. If the vector mask is made less opaque, the image will fade away proportionally. The terminology may be missleading. Translate "100 percent opacity" as "100 percent of masked image shows within the vector shapes." I wanted to be able to retain some more of the underlying image. I made a reverse mask. I drew a rectangle the same size as the image, and then subtracted the added ellipse shape from it. Area 3a shows the outer portion of the image w. a gradient transparency, and a HSL adjust ment layer. Area 4 is the same, but using a Vibrance adjustment. Another way to use vector shapes as a mask is to use the Layer menu item "Rasterize to mask." In sect. 5, the vectors have been added, and filled w. a radial gradient. After rasterization, this is then added to the image as a mask, producing panel 6. The ellipses can also be made various grey tones, so that when grouped and rasterized to mask, each circle gives a slightly different effect. Thus, panel 7 Number 8 is all Pixel personna work. I made a selection of the central tree clump, and refined the selected area. The selection was inverted. Added an oval mask, and various adjustments to dimish the central area. 9 was made by placing erase blend mode ellipses over the image, and modifying those with elliptical transparency gradients. Those were then placed over a vector rectangle filled w. a radial gradient based on colors sampled from the image. Artistic text letters, converted to curves, can as easily be placed on the image, or even used as the mask elements defining the image. Adding:

I had something similar happen to me. The text for the control settings is not clear. If "show snapping candidates" is checked, ALL possible candidates are shown. If not checked, only the last 6 touched (or how many the number is set to) will have the purple outline.

Go to the stroke properties button, and select the brush size variance variable. You will see an even taper illustrated. Then go to the pressure control, and manipulate the graph to get the swelling that you want. You can many settings, and switch the profile as you like for every line.

I'm using the 1.5.5 beta, Mac. If snapping is turned on, as points or shapes are made and moved, there will be lines that give distances between the snapping geometry positions. When there are even distances between various objects, the measurement will appear to show there is an en equal space. It is helpful if you need exact positions to set up a grid for snapping. I often use a grid w. 72 pts as the main division, w. 12 subdivisions.

I've done little enough of this that I'm not sure I can offer much. I'm trying out a few things to see if I can better approximate w. AD some of what can evidently be done easily in AP. See these: vimeo.com/191642138 www.youtube.com/watch?v=B0uIofCR3FE for introduction to using channels and tone ranges, and how the image can be enhanced, or faded or whatever.

DAUB is a set of "natural" media brushes created for Affinity apps, as well as others, by member Paulo Limoncelli. He has a few examples of his work in the "Share your work" section of the forum. There are some tutes that are slow paced and narrated. For the speed painting, which seems to be ordinary painting edited to fit into a short time, down load the file, and step through it and note what tools are being touched, how the various colors and tints are being laid on, etc.

"PT" units. the point size, are standard for typography. In English measurement, they are 1/72 of an inch. Standard 12 pt. font size gives 6 lines per inch. In metric, a point is.35 mm. .24 pt of a point is 1 pixel for the Mac Affinity Designer screen, which is the default stroke size.

Control click on the style icon, and select the "rename" option from the mouse over pop-up.

The work looks good in my unprofessional estimation. I looked up Vectorworks. $! Yikes. Looks like it is a full blown 3-d modeling and rendering program. Did you get to use it as part of your student class works? But there were lots of shapes in your work that I suppose could have easily been done w. AD. How much do you think you could re-create just using AD.

I haven't learned how to select tonal ranges w. AD. Not certain if its possible. From various tutorials, I'd expect something like dutchshader's work should be very do-able in AP.

This comes up a lot. There was a comment some time ago that it will be implemented when the devs like the results. In the interim, lots of folks are using free or very inexpensive 3rd party software. Often, the results from those require significant manual editing. I haven't used AI for that in years, but Corel used to be better, and its results often took hours of refinement. S'pose it depends on how clean and accurate you want the path.