gdenby

Like it a lot!

Try using menu "Layer/fill mode" and switch from the default "Alternate (even-odd)" to "Winding (non-zero).

Hi, Andy Clark,
The vid tute you linked to was for A Photo on iPad. You would do it just the same on A Photo for the desktop, but the interface is somewhat different.
"Rasterize" takes the vector grid and turns it into a pixel object. That is the used to form boundaries for the flood select tool, which in turn are used as areas for the HSL adjustments. 

Nice take Jimmy, we all love you lol! I like your technique that works very well.

Hi, Nickpan,
Seems to me its a cartoon that has some things in common with the "flat" interface sty;e being used a lot these days. Limited palette, mostly fairly low contrast. What the AP vectorscope reports about the color range.

 
Mostly simple shapes, little use for the depth that shading adds. 
Both Affinity Photo and Designer could easily do it, either on desktop or tablet. In so far as the shape edges are so simple, it might be that using something as expressive as a stylus can be would not be as appropriate as a mouse.

Made a video for you @Irfaan 
https://youtu.be/C-YBmY2PpRk
 

The little machinery details are real attention grabbers.  The gradients on the chiseled letter are quite fine. Slightly unfortunate that they get lost a little for those of us who like a sharp font.

Try using menu "Layer/fill mode" and switch from the default "Alternate (even-odd)" to "Winding (non-zero).

Try using menu "Layer/fill mode" and switch from the default "Alternate (even-odd)" to "Winding (non-zero).

Hi my Name is Markus, I‘m a new Member of this Forum and i wanna Show some of my Affinity iPad works
best Wishes from Germany 
 

Using the Node tool, select all of the nodes for the interior shape

Hi, Phuuul,
Check out this link. You'll see right away every phone has a different display. Ot this one, where you'll see that Apple devices differ from one another, and those wildly from a Samsung model. There are various reasons for this, but mostly it comes down to what light frequencies the specific display can emit, which in turn is determined by very specific kinds and proportions of phosphors, and the amount of time they have been used.
A common recommendation for creating good compositions is to look at the range of grey scale values, as most human vision derives from the B & W response of the rods. Overall, the distribution of lights and darks makes the perception of form. The widest range is generally found to be most appealing. If you concentrate on those, color variances will not have as much impact on the final effect for viewer so much.

Hello Hydrology,
What you want to do is use the Pencil Tool and adjust the settings in the Stoke Studio. I'll attach some examples. With the right settings, you'll be able to get a perfect taper every time. 

Are you exporting to PNG-8 or PNG-24? It will make a big difference.
John

No, absolutely not!!!
Do not confuse the DPI box on the screen with Dots Per Inch on the page (fabric in your case). This is where it confuses people. 
When printing (in greyscale), the printer uses varying size dots to simulate shades of grey. The bigger the dot, the darker the grey, the smaller the dot, the lighter the grey, like in the dotty image I posted earlier. Created in AP with the halftone filter BTW.
The printing resolution (measured in lines per inch) is actually how many rows of dots the printer creates on the paper/fabric per inch. The more dots, the better the resolution as the eye can’t see them.
In software programs they use DPI (incorrectly) to measure pixel density, or use (equally incorrectly) PPI for the same thing (DPI or PPI means the same on screen). But it is totally wrong as there are no inches on a screen. Well, there are, but they are never real inches as 72 pixels on a 50” TV takes up a hell of a lot more space than 72 pixels do on a smart phone. So using inches as a screen image measurement is totally daft, but we are stuck with it. 
Pixels per inch is relevant for printing because you normally need twice as many pixels per inch as there are printer dots to create a decent image. If you are printing an image 2” x 2” at 150 lines per inch (which means 150 dots per inch being printed) you need an image 600 x 600 pixels. i.e. 2 pixels per dot. It doesn’t matter if you create it as 3” x 3” at 200 DPI/PPI or 6” x 6” at 100 DPI/LPI in Photo, it will still contain the same number of pixels (600 x 600) see?
Just ignore anything to do with screen resolution, but you can use the DPI setting to work out how many pixels you need when printing. So if you need an image 600 x 600 pixels for a 2” x 2” print at 150 LPI.  If you enter 2” x 2” at 300 DPI, Photo will work out that you need an image 600 x 600 pixels. That’s a lot more useful when working out how many pixels you need for an image 1 5/8” x 3 1/4”.
None of that applies to your situation, because of the way you are creating the screen. On an imagesetter, I could have simply set it to create 45 LPI (or dots in every inch). In fact I remember once making a film at about 30 lines per inch for a special printing project and you could actually count the dots ).
Unfortunately, you have no control over LPI on your printer, so you will have to create the dots yourself.
You could do that by using a brush (as a few people have suggested) or make a screen using the halftone filter, as I demonstrated. The trick will be finding something coarse enough for your printer/silkscreen screen to reproduce. Either way, you will have to create the dots yourself!
BTW, what you set in the DPI box doesn’t really matter if you are printing vectors or text. It is for raster images.

No gestures that I know about. You can get finger strokes alone to respond to velocity and inverse velocity. And a curious one, direction. Both w. a finger are fairly clumsy. One reason I bought an iPencil.
Attached, 2 red strokes done by finger tip. The blue are w. size variability set to velocity, inverse velocity and direction.

Dang, I always forget about blend ranges. Don't know why. Just tried that on some line art, and found that adding another node at 5h 50% position sitting at 100% cleaned up the line art.

Go to the Layers panel and click on the upper layer to select it. Now click on the ‘Blend Ranges’ gearwheel at the top of the panel to display the Blend Options dialog.
At the top of the Source Layer Ranges graph you’ll see a line joining a black node on the left to a white node on the right. It’s at the top of the graph because everything is at 100% opacity, but if you drag the right-hand end all the way down you’ll make the white pixels in your image 0% opaque (i.e. 100% transparent). At this point the black pixels will still be 100% opaque but everything else will be semitransparent; to restore full opacity to all the non-white pixels, drag the left-hand end of the line straight across towards the right, stopping when the white pixels begin to reappear.

AD does not yet have a mesh warp tool. Its on the road map, but no ETA. Photo does have a bit map mesh warp that can be used on rasterized text.

I have the Huion 1409 V1.
For my iPad, I was able to get a plastic screen film that has a little drag, like paper. As far as I know, there is nothing like this available for the Huion, tho' if I could find a source for the plastic in generic sizes, I could make one. I'd do that because the main downside of the Huion (unlike one of my old Wacoms) is that the stylus skates across the slippery surface. Just this after noon,  had to do lots of undos when the tip skidded.

Good! I'm coming up to speed on the iPad version. But, I've spent some time on the desktop working on lens flare effect. No notable success so far. Care to make a post on the tutorial section?

It's a habit that u train. It has advantages, as typically leads to better habits for your back, neck and eyesight, IMO. And mostly, if it breaks, waaay cheaper to replace than even an alternative display tablet. Today I have no issue with pen-tablets, tho I admit is been a long training, and this has been my job for long.
Agreeing on that about the iPad Pro. Size is the issue, that'll be your screen... I see it more of an extra device to continue the work for short session and specific tasks, rather than a real replacement, but this has been debated for long, and am practically alone, there. I can only speak about my professional experience, only, not anyone else's.
The day Apple (that is... never) starts to think in making a huge tablet, I might be in saving tons of money (but I mean no less than 19 inches, lol. So, never. If anything, I might opt by a 22" pen-display alternative. And surely, neither to carry the major weight of my long sessions. As would be an iPad pro, just for shorter session and very specific works. )
Beware the "below 400"  threshold. There's always issues. It'd take me to write a book for each of the alternative models (in every brand) . Usually u get what you paid for. Some ppl would tell u that's an exaggeration, but maybe they do not care for color accuracy, or (what happens in many of those huions) ghost effect for a too bad refresh (ms) in the screen. Or many other quality related issues (that actually are thing to look in ANY screen. And/or issues in the pens (jitter in most non battery-free, etc).
Good that you lined the Huions, as per reference from some friends, it seems that a very good model to purchase now is indeed the highest end of them (and I could list you reasons why I wouldn't go with the cheaper ones) , that is, the Kamvas GT 221 Pro. Surely THAT one I would not regret to buy.
Indeed, I have narrowed a lot what I recommend as tablets, having kind of favorites in every price range :
- Around 100 $ , surely at Aamazon but first hand from the actual company, the Deco 03 from XP-PEN.  Seems to be a great tablet, by all references I have. Is actual larger than medium size at the price of the Wacom Small. So, at this price range you have the Intuos SMALL (S) . I ONLY recommend Wacom S  if you are ONLY going to use it for photo retouch. And/or only for pixel art, and/or only for graphic design that does not need accurate hand writing, or line art hand drawn, ever. For retouch, is a very good tablet. Anyway, Wacom is yet the more durable and reliable brand. IMHO.
- Around 200 $ , the Wacom Intuos MEDIUM (M). Is a very nice and round purchase. I do not recommend it for line art inking (comics, etc) Unless you are ready to use quite line stabilizers, specially if you are trained with those already, and know what you miss by using them. Or have a magic pulse already with any wacom (I "kind of" have it, after long training with wacom, even when I had it in traditional paper since day one, so, inkers beware. I probably would not be able to be very accurate, tho, with a M tablet, despite the long training (I use a XL). )
- 400 bucks ----> GOLDEN PURCHASE RIGHT NOW, and my best advice for a serious drawing device for illustration : The Wacom LARGE (L) Is at a -100 bucks discount right now, dunno why (well, almost surely to fight aggressively against the chinese pen-displays in this price range and a bit higher). I don't recommend Paper version as I have my doubts about it. But does not necessarily harm to have it, could be good for inking. But without it, the 400 $ is really a right price for such a jewel. best professional purchase, IMO. This is a tablet that WILL serve you for advanced work, no matter what. yet tho, to some people, it can be discouraging if they've never used a normal tablet. The thing is: If you get used to one, you then DO have two options: The sustainable one, ie, pen-tablets, or the expensive, easy way, bnut harder on ergonomics, too, pen-displays. IE, I can go just with both. I choose to stay in pen-tablets, tho. Having that freedom and skill is great. Also, makes you a ton faster and accurate when you handle a pen-display than someone who never mastered that, for obvious reasons, among them, that the magnetic field, and the pen, are actually the same tech. And you mastered that to a much higher difficulty level.
- Then, I'd skip the 470 - 600 range as a whole, as IMO, there u are better of staying in the 400 Large one. It is only worth to make the jump to the 800 -900 $ products.
I would only go for the 470 - 650 range if I was NOT planning professional use (mere hobbyist, but probably not for kids or teenagers (maybe yep college students in their 20s, ONLY if self-disciplined enough for handling it not longer than 2- 4 hour sessions), IMO, this solution is not the healthier and most ergonomic: I would not make this gift to a kid, but this advice I extend to other pen-displays and tablets, is my personal opinion, can be arguable, but am firmly convinced about it after seeing certain cases already, unless the session hours would be able to be tightly controlled ! rarely possible, these days. ), and wouldn't care getting a horrid TN panel, bad view angles, bad screen refresh (constant ghosting) , unprofessional color accuracy, even with software and hardware calibration, jitery lines brushes, more driver issues, etc, etc. So, IMO, for pros, this is not a good price range, not for pen-displays. If anything, would surely fit Wacom Large again, just with Paper module (again, highly unsure if is of any good for inkers, I have no pro feedback for that (ie, personally don't know other comic authors or line-art illustrators using it)).
- 899 $. Exactly the KAMVAS GT-221 Pro. I do not risk to recommend any other thing. (well, the Yiynova top model is good, too)
I could recommend 16" range for very specific people, and speciall y the Artisul 16 pro version and XP-PEN 16 pro. These two are among the only alternatives (both 22 and 16 inches sizes included, sad fact is this accuracy level have not hit yet the 22 sizes, surely for tech reasons) supporting a 92 to a 94 % of Adobe RGB color space. Which is amazing. You need to go to a cintiq 24 to (ouch, 2k $) get this kind of thing. As at 1.5 k, hating 16 inches for drawing. I can't recommend that in any case. So, those two 16 inches models are interesting for that, and its price (450 the Artisul 16, 490 the XP-PEN pro 16). I did not include them in the 470 - 600 range, as I do not consider 16 inches screen size a serious option. Also, as the quality of these screens is well above, surely even over the KAMVAS GT-221 Pro. And still , a much worse purchase than the GT-221 Pro.
- 1700 $ The Cintiq 22 HD (they call it non pro, now,. Is just the previous gen) For me, this model does not really make sense since we have now Dell Canvas( next option) . Unless you are on a Mac (Canvas is WIndows 10 only ! ), this price range is IMO gained by Dell Canvas. As the below product can be trusted as indeed HIGHER quality than this wacom 22 product.
- 1800 $ Dell Canvas 27. totally deluxe thing, at way cheape price that Cintiqs of this -tested- quality.  Is a 27 " screen, with quality that is clearly high end. IE, 100% ADOBE RGB color space ! Still, way cheaper than the Cintiqs of this size. If you are on Windows 10 (or can be), THIS is the way to go, at this price range, IMO.  Unless you dislike working in a gorgeous 27 inches workspace. I'd LOVE that.
- 2000 $. The Cintiq PRO 24 (yeah, no 16, even less 13.. But is my take, I respect every opinion). Please, notice the pro part. They've yet made it again a bit confusing with the naming. This means is the current gen, of course for Windows AND Mac (is main difference with the Dell Canvas, plus size), with 8192 levels of pressure, an outstanding parallax, way much better pen in general, etc.  It is a tough decision to go for this one or the Dell Canvas. Probably most of us are good enough with a 24 inches size (27 is better, imo) , and u don't get to notice the difference between 100% Adobe RGB and 98% Adobe RGB color space support (well, I don't). The Dell Canvas comoes with my hardware calibrator: i1 Display from X-Rite, which is quite a good one, so, yep, clearly shows the pro side of the Dell Canvas, too. These are two extremely good devices. Go for it if u have the money. To be 100% sincere, I would go definitely for BOTH a Large, L Intuos Pro, AND one of these, if I had that kind of money to put there, as I don't trust myself been comfortable the 10-12 hours sessions, I've worked like that with a Cintiq, before. Is great to have both things, specially in a 2 machines setup, which is, IMO, the ideal way to go, no matter what.
Going higher than this price range.. IMO is less sustainable, and not that you really earn a lot... Considering you can do totally pro work already with a Wacom Medium or a Deco 03 ! You just go earning comfort and speed with each step, being, IMO, a L a very good fit for most pros and semi-pros.

I had a couple of Wacoms over the years, and they were fine, tho' pricey. I got a Huion after I started w. Affinity. The specs are as good as my older Wacoms, and the size for the price is much better. I've been satisfied.
You get used to watching the screen while moving a tablet stylus. Not nearly as hard as basic drawing instruction where I had to repeatedly try drawing without ever looking at my work surface. 
Tablet computers tend to be expensive. I tried one some years ago, and found it hard to use for art purposes. Too unwieldy, rather slow. I currently have the large iPad Pro. Tho' the touch response w the iPencil is outstanding, the drawing area is rather small, and the tablet itself is rather heavy. As a comparison w. traditional media, a piece of paper taped to a thin piece of plywood, or a stiff illu board is much lighter. I guess I need an iEasel.

Hi, Boldinedesign,
The vector brush is a vector only in that there is a vector core that has a bitmap stretched or repeated over it. It is sort of in between vector and bitmap. Depending somewhat on what the specialized brushes were like, you might be able to export the work as a .png, and put that thru an auto-tracer to turn it to .svg, etc.

The iPencil rocks. It is expensive, but the response is spectacular. AD's new "sculpt" pencil mode works like liquid lightning. My younger daughter, who works very diligently w. a Surface Pro, Ps, and various pens had to admit it was way better than anything she had used.