Sullyman

@evtonic3 I mentioned this as a suggestion before. Adding the 6 hues in-between the already existing 6 would set them apart from Adobe. RED / ORANGE / YELLOW / YELLOW-GREEN / GREEN / GREEN-CYAN / CYAN / CYAN-BLUE / BLUE / PURPLE / MAGENTA / MAGENTA-RED Something like above.

Could you not just duplicate that selected area from the original image and then erase away the parts unneeded, to recover the image area you did need? Honestly, I feel your pain quite often and do find myself wanting more from the pixel persona but I do run a fairly decent system so I have both programs open with no issue. This is certainly the issue Affinity faces with such a low buy-in. The target market for a low buy-in is that it will attract people with low budgets to begin with thus probably working with lower-end systems. Running to programs that can be system hungry will leave certain folks with a frustrating taste in their mouth having to switch programs the longer way of shutting one down to start another. My gripe would be the flood selection tool not being included in the pixel persona. Seems to be a fairly simple and widely used selection tool. Not exactly sure why that needs to be separated between the two programs.

@TonyO This is pretty much what I'm suggesting as well. I don't think it really even needs new space with all the extra space available below the existing tools.

What you'll want to do to create that halftone effect is as follows: Create a rectangle shape the size of your document (Use the snapping feature to assist you) With the rectangle still active (selected) use the gradient tool with Radial as the Type and have one end of the gradient set to 100% white and the other end set to 100% black Add a Live Halftone filter layer above the rectangle shape layer with Screen type set to Dot, Contrast set to 100, Cell size you'll want to play with to reach your desired affect. Go back and select your rectangle shape while using the gradient tool and stretch the nodes until you reach the desired amount of fade (or simulated blur) Once you have your halftone effect where you want it, you can use the Filter function "Erase White Paper" to destructively remove the white areas while simultaneously rasterizing the layer. Hope this helps!

Like the title says, I would love to see dynamics being applied for the spacing of the brushes settings. Lot's could be accomplished with this feature being added for users creating brushes. Maybe even texture rotation as well!

@Aammppaa at the moment, hopping over to Illustrator to perform the boolean operations are my workaround Creating my own fill objects is just a major waste of time when the boolean operations can do it for you.

Love being able to use the custom pressure curve for strokes but I find that it becomes a little difficult to find smooth transitions to curves once one pressure node is added. The steep drop-off of the curve being applied to the initial node is at times, not the desirable result but want to keep the node count down due to their nature of a steep drop cause by the default setting for the "bends" influence. I would love to see the ability to use maybe use the mouses wheel and scrolling to influence the pressure curves node and the bend or curve being applied to it. I think this would create better results than trying to eyeball the placement of nodes to create the desired result of a more soft or smooth curve. This is a similar function to audio editing software when editing the EQ of a waveform. You'll be able to edit one of the 6 nodes of the EQ by placing the node in the location that you want it. This node, by default, has an initial bend applied to it but by scrolling the wheel you can then influence the amount of bend or curve applied to the node.

The process is creating paths with any stroke size which I call "lineart" and saved as a group. That group is duplicated the duplicated groups paths are expanded to curves and then the boolean operation "add" is used once the lineart is merged with "add" I then divide the results, thus creating the "interior" shapes I use as color fills You can see in the example provided that the "interior" shapes aren't always consistent with their "lineart" counterparts. This happens in both the beta and the official release.

Using the custom pressure curve causes appearance issues, even when expanded they persist. See the video... https://youtu.be/RZ1_PqXBL4c

Clickable up and down (or left and right) buttons to help set the numeric values for things like strokes. If find myself under or overscrolling sometimes and can eventually waste time. ( it would also be nice to be able to set the fractional range of the buttons in settings, ie: every .25, .5 or so on) maybe even the added function of shift snapping. HSL adjustment numeric input and info output. Right now it's great with the update but disappoints with the arbitrary nature of sliders. You can't be accurate without having a numerical readout of the position and value of the location of the slider nodes. Would love to see something like Photoshop's but with an Affinity twist. I also second bringing back the ability to selecting the HSV version and maybe even HSL or HSB too! and and let's not forget, resetting to default ranges button. HSL Adjustment 6 Hues or 12 Hues setting. Would love to be able to grab the inbetween hues of the major 6 like, orange which is between Red and Yellow (This could also be accomplished with the numeric inputs mentioned about) Persistent Mask editing with Adjustments. Would love to stay within the mask view (alt+click on mask) to apply adjustments to masks instead of being forced out of the mask view with the addition of an adjustment layer or filter. Distribution function for gradient color nodes. This would be fantastic for more symmetrical gradients either by selecting all of the nodes and distributing them along the range equally or even between selected nodes. Buttons for creating spare channels. Modifier + Click channel selections, plus addition and subtractions. These are just to name a few quickies

I would like to suggest the inclusion of the magic wand tool inside of designer. I know that certain tools need to be partitioned within different programs to help sell because of the feature set but I’d like to argue that having a pixel persona inside of Designer truly warrants a magic wand for complex selections. I’m an illustrator by trade and one of the most common and simple functions I need to do is, draw a contour for a shape select it’s outter negative space and use that select as a mask for other layers beneath. Currently I have to go multiple steps to achieve this simple task by using the bucket fill to fill a duplicated layer of the original contour illustration layer, find any “holes” in the filled version which can be incredibly tedious if there are any pixels that push the fill from reaching edge when the buckets tolerance doesn’t help. I think the idea of including the wand and some minor settings like expanding or contracting the selection would be hugely convenient for Designer users; not a huge fan of eating up system resources with having to open Photo just to create and adjust what is a simple selection need, or having to go through the effort of double saves and imports on the iPad. Thanks for any consideration!

Will we be seeing (If not, I'd like to suggest) the ability to turn the spot feature for color swatches on and off? I'd like the function of being able to select color swatches for my pallete and later being able to turn on the spot feature after the fact. Also, any plans for a separations preview? Thanks!

No problem @Chris B, I appreciate you throwing your hat in the ring! Ok so first, the reason why I group is; to achieve halftones I need to have a white background layer (usually a white fill layer) which allows me to halftone the black/greyscale objects that I have as the artwork. Without the white background for the halftone filter to use, you will receive no halftones from the filter. You cannot create successful halftones for screen printing without this method because you'll land with results like your second example, on the right side version. This would not work because a "gradient transparency-ed" edge cannot be printed onto screens. We need solid black dots with no gradient fading as I'm sure your aware of. The point of this entire effort is to be able to take advantage of Affinity's ability to "Live Halftone" which would be an amazing feat for the screen printing industry. Affinity really has something going here! It would be nice to make edits to the art while the halftones are live thus my grouping workaround to get them working. (Now if we could only have a "rasterize filter" that would essentially let a group of layers have a filter applied to them that non-destructively applies a flatten/raterized property to a group without losing their editability (and not using "smart" objects like Photoshop... but that a whole other can of worms.) In my example you'll notice that I have a live vector object that is using my work around to allow for the halftone filter to work, but I get a "fuzzy/blurred" halftoned edge to the vector shape that has none. This is the issue I'm trying to point out and happens to text objects as well. Photoshop has next-to-none of this when going through the steps you mentioned above. I'd like for Affinity to fix what is possible in this area as what is so seemingly such a small issue but is actually a very big one for the screen printing industry. Halftones and their angle and size are absolutely critical to successful prints. Again, all of us in the industry would love an option to get away from Adobe were we can. Lastly, will we see the ability to get .25, .5, .75 increments for our angles? The industry standard is 22.5, 67.5, this would a very welcomed addition to the filter. Thanks!

Ok so not sure if this is a bug... (feel free to move where necessary) I noticed an issue when using the halftone filter and this is regardless of the settings used (in my case I want maximum contrast), when applying a halftone filter to a layer that has been threshold at 99% (thus creating essentially 1-bit raster ie: Black and White pixels) and rasterized (or nesting the layer within a group and applying the halftone to the group), the halftone filter creates what is essentially a blurred halftoned edge. In Photoshop when we are trying to "RIP" halftones at high resolutions for output to film transparencies, we need to halftone our separated plates, usually a greyscale image. During this process we will have "objects" or portions of the image that are solid black and white pixels, no grey edges, to be halftoned like for instance a piece of solid text in which we do not want a "fuzzy" edge. During that process in Photoshop it's bitmap halftone feature will not "add" a blur to the edges of pure black and white areas of the image whereas Affinity's filter does. I would love for the ability to RIP in Affinity and this cannot be done successfully without this issue being "corrected". Here's a quick scenario that you can test with: Create a new document (300 dpi preferably) Create a pure white fill layer Create a vector rectangle that is pure black Add a Threshold adjustment layer above both previous, set to 99% Group all three together -or- raster all three Apply a monochrome halftone with contrast set to 100% Take notice that the edges of the rectangle will now have a halftone applied to them. This does not happen in Photoshop's bitmap halftone. How could we remedy this "issue" or add to the feature set in Affinity for those of us in the screen printing community that desperately would like an Adobe alternative. Attached are two images, the rasterized then threshold'd image that is basically a 1-bit image ( obviously to post on the board it is saved and compress so the edge is fuzzy), and the resulting fuzzy edge halftoned version of the same image. Thanks!

The low resolution was just for uploading quickly.