kaffeeundsalz

So what you want to say is that InDesign is an example of good user interface design? If so, in what way?

With all objects selected, activate "Transform Objects Separately" in the context toolbar. Then, while scaling, hold down the Cmd key (or Ctrl on Windows).

@Patrick Connor Thank you for these insights. Much appreciated!

Just wanted to confirm that this is happening for me, too. Additionally, sometimes after drawing the shapes, the cursor icon will change to something else like e.g. the move cursor or the rotate cursor.

Hi @walt.farrell, I really don't get it. I do know how PDF passthrough is different from interpreting a PDF file. And I see that Affinity interprets a PDF on opening. I just don't see why this should be a necessary behavior given that a placed PDF with passthrough enabled perfectly exports as raster images as well, with all the fonts correct etc. All I ask is to be able to do this in batch, too – rather than creating a new document with the same dimensions as the PDF, place the PDF inside of that document, go to the Export dialog and set PNG as the output format to finally get a result. And then repeat this for each PDF.

Hi Serif, the new PDF passthrough feature is quite remarkable, but I think the Batch Job feature would really benefit from having this as an option as well. Right now, batch conversions in Affinity Photo are not really suitable for PDF documents since you need to have all the fonts installed that are used in the PDF to get predictable results. A simple PDF passthrough checkbox in the New Batch Job dialog would be enough. And while we're at it: Why do I have to place a PDF document to get the passthrough option? Shouldn't this also be available when opening a PDF file? Greetings kaffeeundsalz

Is this coming to Batch Jobs as well? In the current Beta, there's no option for PDF passthrough when adding files to the Sources panel in the New Batch Job dialog. This means Batch Jobs can still not be used to bulk-convert multiple PDFs without having all the required fonts installed.

What the OP probably means is that brightness/contrast and tint of an image area doesn't necessarly match the area that it's cloned to. One could try to play around with the patch tool which sometimes does a pretty good job at blending areas of different appearance. Personally, I end up using manual corrections with nested Curves layers most of the time.

Also, do you mean the blend modes of the live filter layers themselves, or are you asking how other layer's blend modes affect the appearance of live filter layers?

I basically agree, however it probably won't take years for @vivviv to understand what mistake he/she made and how to set up document spreads and pages properly.

But it should work just the way you describe. Make sure you set up the layers like so: The important part of this is that the gray pixel layer needs to be a clipped, not masked. Note the slighly larger indentation of the mask layer. With the blend mode of the 50% gray layer set to Overlay, non-destructive dodging and burning (which also needs to be done on the gray layer) works as expected.

Just to avoid confusion: You have really just taken a known state of the image from the document history and used it as a brush source to paint on the currently selected layer. It's nothing more than that. Append the following steps to your instructions: 1. With the background layer still selected, go to Filter > Colors > Solarize. 2. Delete the triangles. 3. Select the step before solarizing as your undo brush source. 4. Paint over the background layer with the undo brush tool. You'll see that this will indeed undo the solarization, but you'll also paint the triangles back in as pixel data to your background layer. I you don't happen to have a history step where your background layer is in the state you need it as the only visible layer in your composition, you're lost. I'm sure you might be able to alleviate the problem with the use of the alternate history feature. But it remains a rather makeshift approach given that you could have just solarized a copy of your background layer / added the noise as a live filter layer.

I never really perceived the color circles as being primary or secondary. For me, they're just two equivalent colors between which I can choose for convenience. Maybe you should just look at it this way? Why is it important whether the top left color circle is the secondary one?

The selection brush tool is typically used on pixel layers, not on mask layers. Use the paint brush tool instead. Apart from that, mask layers shouldn't get rasterised if you do use the selection brush tool on it. Can you provide a screen recording to demonstrate this?

Interesting! Do you know any way to create such a squircle in Affinity Designer? Specifically with the curvature continuity diagram in mind? Or is this just not possible with the standard vector tools?