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Daniele Salvatore

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  1. Like
    Daniele Salvatore got a reaction from ClintonDew in LEGACY: Official Affinity Designer Video Tutorials (70+)   
    I have tried to make exactly the same exercise as shown in the tutorial, but I could not get get the shown coordinations as the movements do not follow the applied constraints.
  2. Like
    Daniele Salvatore got a reaction from ClintonDew in LEGACY: Official Affinity Designer Video Tutorials (70+)   
    I have tried to make exactly the same exercise as shown in the tutorial, but I could not get get the shown coordinations as the movements do not follow the applied constraints.
  3. Like
    Daniele Salvatore reacted to RobWu in Any news about Affinity Publisher for Windows?   
    Missed this one for some reason...

    I'll just wait a bit longer to see if, and when Publisher is emerging from the alpha depths. ;-)
     
     
    rob
  4. Like
    Daniele Salvatore got a reaction from Petar Petrenko in Nik Collection support?   
    I have installed today on AP 1.5.0.45 on Window 7 the plug-in Nik Collection and I can confirm that all 8 of them work perfectly well and without having any problem.
    It has been the first time for me.
  5. Like
    Daniele Salvatore reacted to ottobyte in Add a Lighter/Brighter UI-mode (implemented)   
    I asked this question in another post which was all but ignored. It is very important. Sometimes black/grey UI sucks your peripheral vision away from the workspace.
  6. Like
    Daniele Salvatore reacted to DeepShader in Add a Lighter/Brighter UI-mode (implemented)   
    ..and a lighter background with a dark UI is a nightmare for working!
  7. Like
    Daniele Salvatore reacted to ronniemcbride in Arrow Brush   
    Sorry I just seeing this now but did you ever figure out how to get the arrow to inline or at 90 degrees? Did holding shift and clicking work or changing your pen mode to line mode perhaps? 
  8. Like
    Daniele Salvatore reacted to Bri-Toon in Add a Lighter/Brighter UI-mode (implemented)   
    I agree. The new UI does look charming and so does the current one, but the bigger issue is the color of the selected indicator. That screenshot of Dorico is a great example of what should be applied in Affinity. Having the indicator the same color as the background is not easy on the eyes.
  9. Like
    Daniele Salvatore reacted to VIPStephan in Add a Lighter/Brighter UI-mode (implemented)   
    In my other life I’m a musician and I’m sometimes composing and arranging music. Interestingly, 2016 seems to have been the year of new applications because at the same time Serif published Affinity, Steinberg hired the old staff of the music notation software studio Sibelius to have them create a completely new notation software from scratch (called Dorico). And despite their very different subject I see many parallels in the approaches of Affinity and Dorico (or rather, the developers of these software).
     
    But long story short: Dorico has a beautiful dark UI with monochrome icons and states that are easy to recognize. Even though they also have a light UI, I don’t even feel like switching because the dark UI is actually pleasing to the eye for my taste. Perhaps Serif could take some inspiration from this?

  10. Like
    Daniele Salvatore reacted to anon1 in Add a Lighter/Brighter UI-mode (implemented)   
    I did not anticipate that you were a serif official but just pointed to you a resource some posts earlier I linked to which clearly says that a light UI will come in the near future and already shows the working light UI as a preview for what's coming
     
    Cheers
  11. Like
    Daniele Salvatore reacted to dag_klingstedt in Add a Lighter/Brighter UI-mode (implemented)   
    I would like to add my voice to this request. I'm having substantial problems with "light grey on black" interface design. The contrast is just not very good. In a brightly lit room, as the one I work in, it is rather difficult to use and it induces headaches after a while.
     
    I have the same problem with Pixelmator. I hope you will be different than the Pixelmator team, which absolutely refuses to offer the possibility of customising the UI colour scheme. There are graphic professionals in their 50s and 60s who might not have the eyes of our younger colleagues. Please consider our needs, too. Thank you!
  12. Like
    Daniele Salvatore reacted to Keith Reeder in Nik Collection support?   
    Well, plugins either deliver functionality unavailable natively to the software; or they simplify the process of getting a desired end result; or they simply do something better than the host programme can do it.
     
    For example: it's certainly true that the Topaz Detail plugin is much better for sharpening my bird pictures than the built-in sharpening tools in Affinity Photo (I would have big problems if the Detail plugin didn't work - although I like the Focus slider in Nik's Sharpener Pro 3 tool as well); and Topaz DeNoise is better at dealing with high ISO noise than Photo's noise reduction (although this is very good itself).
     
    The Nik collection provides a unique way of selectively processing images, by use of Control Points - that's a big deal for some users - and some of the tools in the collection certainly make it easier to achieve results: sometimes results you would not even think of trying, using the native tools in Photo: if I made a habit of black and white, I'm sure I'd use Nik's Silver Efex Pro 2 all the time.
     
    So in summary, plugins can make life - and getting the pictures you want - easier.
  13. Like
    Daniele Salvatore reacted to vegasabel in Nik Collection support?   
    Personally, I use those on my workflow. I'm familiar with them, and I know everything they do, how to use each one, where and why. Leaving aside that the result can be better or worse than the one you would get from Affinity internal tools, I'd have to learn how to use Affinity tools to get the exact same results that I get with my plugins. It's a matter of time at the end of the day, and how much you can do with just one plugin that combines vignette, saturation, lightning, structure, etc. on the same screen (for example) vs processing the image ''manually'' on Affinity using its tools.
     
    In short, I'd rather have both options.
    I hope that helped! :)
  14. Like
    Daniele Salvatore reacted to Chris B in Misalignments   
    Moved to bugs for Affinity Designer Bugs on Windows. 

    @Daniele Salvatore I think this is a redraw issue that we've seen occasionally but never been able to reproduce with a solid recipe. I've had it happen a few times. There are already a few bugs logged with development. Thanks for raising it again, I can bump the report with your thread. Regards. 
  15. Like
    Daniele Salvatore reacted to LilleG in How to expand from center for Marquee Tool?   
    The original post referred to expanding from the center.  That is still not available in RC2.  (Or if it is, I haven't discovered how to do it.)  And it is still greatly desired.  I don't know why such a basic option has been ignored for so long.
  16. Like
    Daniele Salvatore reacted to SrPx in Copy and Paste   
    Specially! Is a good brain exercise, a good "gymnastic", no matter the 73. You have been able to understand 3 complex tutorials from myself, I bet that's more brain flexibility that a lot 20 somethings year old showed to me in some recent company I was at :). And seeing how a 81 man, in my local city, teaches his pupils in all his excellence at an engineers school at my local area, and all the pupils are amazed with him (as a teacher by honors or however is the English term) in clearly full capability, am starting to think that the brain is very capable and able to compensate every situation ! Unless you really really notice a serious problem. And even in those cases (which I can see in every post, is not your case ;) ), the exercise would be the best solution. IMO, your problem (if you'd have any ! ) is not about intelligence, hehe   ;)
     
    Anyway, in what I'd actually agree with, and is an actual advantage, is in having a very different view due to not having the intense pressure of a professional today, of being a graphic designer, or other graphical pro that depends only in certain skills to actually eat... In a situation where I wouldn't depend on that, at all, certainly...I'd just use tools to enjoy... Is even now, and I actually do that, partially... As there's enough range of options in the market as to be able to choose... Although...for very professional stuff, not so many... there's a clear monopoly out there, that's why we welcome Affinity like the philosopher's stone.
  17. Like
    Daniele Salvatore reacted to SrPx in Copy and Paste   
    A pleasure that it helped.   :) .  Actually, Daniele, I believe that for specially shapes like circles the approach of vectorial that become later selections or masks, is indeed also preferred as a professional solution. I'll put my case as an example: When working in PS (aka Photoshop), for many type of activities, when the shape is not just a rectangular form, but a circle, or an even more complex shape, if I do it with just selections, is very complex task to do, and often the marching ants are not so accurate, as it is using vector tools.
     
    So much that, indeed, when I would need in PS to do a mask or selection of, let say, a human face, or even just the silhouette of a car, I do actually prefer the vectorial pen that PS has, because not only I can zoom infinitely to get the borders absolutely perfect in that selection, but also for the editability of a shape formed by vectors and tweakable nodes and its curves, at any time even after finished the contours (which at whichever moment I am free to convert to selection). I often even save these vectorial paths in the paths tab, that so get as paths saved within that image file, instead of saved selections or masks !  . I am telling you a kind of "next step" in what is advanced selections, which probably is not needed for basic editing, though, and can be "too much" for simple tasks, but it is indeed a very good "path" (sorry for playing with words, here ;) ). I saw this as a first time being done in a mask by a colleague was doing for an advertisement, back in the elder days, in '95, Photoshop 2.x already had the pen vector tool... !   :D
     
    if you notice, is a bit of what we are doing here with my "third method".  I for one in AP would probably just start away often with pre-made vectorial shapes and then hit "ctrl shift o" , to directly convert those to selections, and that'd be it, as then I can probably reuse the vectors made for a new different mask.  And would probably use a lot the vector pen to build my vectors (soon-to-be masks / selections). Of course, this combined with add + subtract and intersect, makes a combo as powerful as PS's for making complex selection workflows.
     
    The world of selections, masks, etc, is the world of been able to select in a very complex way parts of an image, and IMHO is the heart and key of a lot of professional activities related to image editing.  AP has this depth and power, luckily. Among the many reasons why I'm choosing this combo (AP+AD) as my do-it-all package, in a not long future. But adaptation to the new UI is the very key here, to even enjoy better the ride, actually.   ;)   (my tutorial is an adaptation from someone like myself, also more used to the direct handles in the selection borders! )
     
    I can tell you : The transition from PS to AP is one of the smoothest, cleverer and friendliest I've seen to date. The world of suffering that I passed through when jumping from my loved 3DS Max to XSI (which having an UI absolutely, radically different, but also workflows, despite that it is and was an absolute jewel ) or from also Max to Blender 3D, was way, way harder than anything here (Blender is now very friendly in UI, though). Photoshop users find here their way too fast. I say "too fast" because many of the complaints are like if they were actually using a Photoshop variant directly delivered from Adobe, or something. Which is far from being the case. Despite the gigantic convenience of following PS standards (now standards in many applications), these are new applications !! , we need to adapt, even if just the very tiny little bit (trust me, for what is the difference between two powerful, professional packages, this smooth transition is an absolute gift ) that is required. 
     
    And ... I invented those 3 tricks in minutes, real time as you asked about it (well, as I found the post, in that second). I didn't plan that in any way, didn't either knew from before, for the very reason that I am not using selections, because I am not yet inserting AP/AD in my projects (even while I purchased AD, and will do so , no doubts, (pro tools at an amazing price.) with AP ) . What is required every time one jumps to a new program, is to adapt to it, is an excellent exercise for the brain, and amplifies your software handling capabilities enormously (you get this sort of Déjà vu thing in your brain after adapting, that allows you to learn relatively new stuff easily. Combined with a major brain flexibility). Without knowing how it dealt with the matter beforehand, I knew AP has a lot of depth, so an efficient workflow was there already, most surely (it was: indeed, several). And in my view, it definitely is, but is also a matter of habits, the ones you bring from other software applications... ;)  . My advice : Keep adapting, you'll find your favorite workflow with every application.   :)
     
    I'm telling you this so that you would be able to enjoy the ride as I do...!   :D That's the main purpose.   :)
  18. Like
    Daniele Salvatore got a reaction from SrPx in Copy and Paste   
    You are magician; thank really a lot. I have tryed any solution, but I could not come to the end until I got your incredible help. Now everything looks easy.
     
    You were perfectly right; the No. 3 is the best and fast; I got exactly what I was looking for.
     
    I really appreciate your great help.
     
    I enclose a simple photo to show which kind od result I was looking for; the two clocks below shows the result.

  19. Like
    Daniele Salvatore reacted to SrPx in Copy and Paste   
    Indeed, the third one is as fast as this (if leaving the redish mask as default, as otherwise you can get visually confused) : 
     
    - make a marquee
    - hit q key (or top big black circle icon bar, just a hit)
    - hit the shapes icon. Modify handles as you wish, 
    - hit q
     
    You are done.   :)
     
    (because it has the very clever thing that it does not let so any vector shape behind)
     
    takes about 6 - 7 seconds, doing it calmly   ;)
     
    LIES: Loool. Even better .  Does not need to be rectangle shape the last one you used. tried now with a gear shape, and if you hadyour rectangle selection, it just adds your so much wanted handles, becose like vector temporarily to allow you varying the selection. 
     
    So, is a matter if you hate with a passion the key letter "q" or the top icon bar (and an uber fast hit to the whatever vector shape) , as that's all what it's needed.   :D
     
    EDIT :  The click in the shape tool is a fast dry click, not a "keep pressed", as you are not interested in deploy all possible shapes, just whatever it is so that it gives you your desired handles for the selection.
  20. Like
    Daniele Salvatore reacted to SrPx in Copy and Paste   
    Argh, just made a video, very fast. For you to get it right, at least the 3rd method   :)
     
    But... forgot again to set "include mouse cursor". So, please imagine what the cursor is doing, is easy. In a hurry to make the vid again.
    The video explains method 3 with 3 examples. The first two ones are more showing the functionality and possibilities. The third one is a fast one, just showing you how fast it really is.  Haven't made videos of method 1 and 2, as I believe you are going to want to use just method 3.
     
    Is a vimeo video, so, please remember to click on the logo "vimeo" down below, and once you are in the site, in my video, click the maximize icon,(the four arrows icon, besides the "HD" icon ) or you wont see it well.  (you need to go to the site first clicking down there to "vimeo" as I don't have a pro account in vimeo)
     

  21. Like
    Daniele Salvatore reacted to SrPx in Copy and Paste   
    Oh !
    I see. (edit: Sorry, phone call and went also to clicky with the post button   :D )
     
    Oki, several advices here (am sorry I have not yet -due to work- yet installed the .42 beta , this is about .39 usage, but surely is the same ) :
     
    method 1. As I prefer it by being slightly longer, is much more flexible and powerful.
     
    - Try a different whole workflow.  Instead of direct selections, you can use shapes.
    That is, for example, rectangle shapes. (shapes are just below font tool in the vertical bar)  
     
    - First, be sure you have already a pixel layer (ie, where your photo is)
    - Draw your rectangle, it has the handles you want, move them as needed, you can even rotate or skew the shape. Or, move it by clicking and drawing over an edge.
    - Now, ctrl shift o  (o letter, not number) and this converts it to a selection.  Now just be sure to click on your pixel layer, to perform the act over the image you want. (be it that pixel layer with the photo, or any other layer)
     
    - What is more, if you dislike that selection you can fast modify that shape, and hit again ctrl shift o. As every times it creates so a new sleection.
    The advantage is it gives a lot of editing power, alowing you also to use plygons side selections, circle ones, star shaped selections, and a long etc.
    And even more if you would just use pen tool (but then in that case you would also have the "make selection" button in the top bar.)
     
    method 2  . Less powerful but am almost certain is the one you will prefer. :
     
    - Just do your marquee selection. And change the width or height just by substracting from the selection. The huge advantage of this subtract over PS's is that allows you to both subtract or add if you passed by the exact point. IMO, with this trick, only need to be aware that you would better do a bigger selection always, never do it smaller, as you can't make it bigger than it was, but have two directions of refining, reducing or enlarging. Just never over the maxium, the original size of your selection.
     
    - So, subtracting : Simply click alt to subtract, but be very sure to drag a wider enough of your marquee's width (or height if reducing its horizontal dimension), keep alt pressed while you drag over your existing marquee, you will see how the border "moves" (you are actually subtracing) , but up or down, as you can go the opposite direction if you went to farther.
     
    So, if you care to always do your selection a bit bigger that it needs to be, when doing it in a very zoomed out view were you can be pixel-accurate, and the zoom there -you would do so, with marque handles or not!-  to do an accurate marque with this alt trick.
     
    method 3 (Also good and VERY fast, similar to 1 It depends on if you hit quick mask. I love it.  Actually, if you read well the below, I believe you will use this method):
     
    - using quick mask mode, one of the most useful things ever.
     
    -So, you would make your regular selection marquee, and I mean, a rectangular one. Is essential that you make it ! Or it wont work !
    - Hit q key or hit the top bar menu icon for quck mask. (this gets you to quick mask mode, all being reddish) . You can configure , by hitting in the top bar button the dployable arrow besides a circle inside a rectangle, is the quick mnask icon, to dploy that option list, and select "transparent" instead, so you wnt see any reddish mask.
    - Now click on the shapes icon in the article tool bar, which you should have as RECTANGLE shape (not the node tool). This will give you the shape exactly being the marquees dimensions and place. just move the handles as you wish. Hit q (or hit the top bar button). bang, your selection modified.
    -if you press "del" (deleting key in your keyboard, but not backwards delete, the other one) , you will delete any vector shape, in case you left some back. It never deletes your selection.   :)
     
    My advice overall: use the third method, and don't use transparent, use the standard red-ish one, is sort of less confusing. :)
     
     
    Explained looks a tad longer than it is doing it.  Is almost instant.
  22. Like
    Daniele Salvatore reacted to SrPx in Copy and Paste   
    Irfanview (which I use extensively) is rather much more simplistic in its aims, is a great fast image viewer. And you can't do a lot of what you can with a full package. 
     
    There's not such a big difference. You select with your marquee selection, ctrl + c and ctrl +v. Pasted pixels become a new layer (the only real difference) , exactly as it is done by the industry standard (ie, in PS and many others). 
     
    It is fast, not slow, and has its own advantages (would be too long to explain, here). When a workflow is not absolutely crazy -which is not- there's a percentage of adaptation needed by the user, too, and also should be needed a certain respect/trust for the point of view and general road map and criteria of the developer, IMHO.
     
    If you keep obsessing about you could do that or this thing in this or that other way in Irfanview or Gimp, you will never improve with any software, because in Gimp, you will miss A LOT of ways of doing in AP or PS or Irfan, in Irfan you will want the transform tools you have in the others, and a very large etc, then you would also trash those. Instead of what is adapting to an UI and make the most possible of a workflow and UI philosophy, that is not there randomly, it has quite some thought behind.
     
    If you would advance a lot (I have) in image editing, you would realize working in a modular way, by objects and layers, is a great advantage, not the opposite. (and you can always ctrl + e or ctrl + shift + e, to merge layers)
  23. Like
    Daniele Salvatore reacted to cokerms in Copy and Paste   
    I completely agree with Daniele. This was not very intuitive and I actually closed Affinity Photo and switch to Gimp 2 so I could complete the task I was trying to perform. 
     
    Please keep it simple for us :D
     
    Thanks
  24. Like
    Daniele Salvatore reacted to kubjo in Edit an selection   
    Hi, thanks!
    But, if this behaviour is by design, tell me how do I subcract an area in the middle of a selection? (like an island :-) )
  25. Like
    Daniele Salvatore reacted to jpm25 in Fonction Scipts   
    Serait il possible d'ajouter la fonction scripts (Qui permet de mémoriser plusieurs actions). Fonction particulièrement utile lors d'actions ou modifications répétitives.
    Pourriez vous l'inclure prochainement.
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