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pbass

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Everything posted by pbass

  1. pbass
    P.S.: One good reason to want the paths to continue — rather than just contiguous, is: If you use a pressure contour for a natural taper at the ends, you only want it to taper at the place you consider your line to be finished – not necessarily where you first lifted your stylus.
  2. pbass
    Hi there, In Designer, when you've drawn a line (path) with the Pencil tool, and lifted your stylus, the path is 'done', and the Pencil is ready to draw the next path. ¿What if you want to Continue that same path – rather than just adding another one at its end? Pencil sketching is appealing because of its speed; it would no longer be any fun if you had to manually connect paths that you want to be a single one. Is there a modifier key to do continue from the last node of an already drawn path? I couldn't find one. If none exists, would this be a good feature for the Wish List? thanks in advance, - pbass
  3. pbass
    Thanks MEB, Glad to hear it's going to get looked at. Yes, that Breaking-the-node does do something. It's kind of unpredictable, though. Once I've broken it, changing various Properties settings for the vector brush have different effects. Some give the opposite problem: "Crossover" – where the ends of the stroke stick out past the node a bit. Or weird amputation of the ends... Attached is an example. (To see just the stroke without the skeleton & nodes, but without deselecting, I just toggle Z or H...) Just for fun, in the brushes 'Properties', try pressing 'Corners –>Fold'. :^D! CloseGapExample_Designer_17Mar20_pbasswil.afdesign
  4. pbass
    Hi, Say I stroke a closed shape with a Vector Brush (in Designer). There is always a gap at the terminal point. Say you don't want the gap. No matter how you edit the brush's Properties – including Head or Tail Offset, Overlap, Pull, etc., – there's always a gap at the closing node. Is there a trick I don't know? (Besides opening the curve and tugging the end nodes for visual stroke overlap.) Wouldn't visual vector-brush stroke closure be a desirable feature for some/many purposes? ¿Could this option be designed into Brush Properties, in a later A.D. update? thanks in advance, – pbass
  5. pbass
    Oh wow – how the heck did you figure that one out?? I would never have looked at pressure in a zillion years. Yeah, that's absolutely a weird way for it to work – the other stroke type buttons seem to depress; but the vector brush won't let go of its grip... Thanks for your attention, JimmyJack – one less frustrating mystery for me! Cheers – pbass
  6. pbass
    Ok, something's really whacky. I saved the file so I could upload it. But now, that saved file, when double-clicked in the Finder, only opens to Af. Photo – not to Af. Designer, in which it was created. So there's something weird about the file itself. Attached. - pbass StuckStroke17Mar14.afdesign
  7. pbass
    Hi, Designer 1.5.4 on Mac OS X 10.8.5. I drew a simple pen shape (in Draw Persona), and made the stroke a vector brush (ie, Stroke Style button 'Texture Line Style'). How do I now cancel the vector brush and revert the stroke to a plain line stroke? I would've thought: Stroke Palette—>Style—>Click 'Solid Line Style'. But the vector brush stroke stays. Same when I click the Dash Line Style. Same when I adjust the stroke width slider. However: Clicking 'No Line Style' _does_ work, and removes all stroke. But when I then click Solid Line Style (or Dash Style), the vector brush stroke comes back. What am I missing?? thanks in advance, - pbass
  8. pbass
    Nice to see a neighbour & ancien voisin ici! (je suis anglophone de l'ouest de l'Île, plutôt musicien que graphiste)
  9. pbass
    I'm unfamiliar with this task (never thought about it). But am so impressed! The skin tones are somewhere between life-like, and old film-like. I love it! - pbass
  10. pbass
    (At the risk of annoying the devs with repeated requests:) What I long for in Designer are the various Perspective operations of Photoshop's Free Transform: Where you pull the corners/sides of the bounding box with various modifiers to skew perspective. But effecting A.D.'s vectors, of course. This is much more urgent to me than a Mesh distort. Mesh distort is an entire stealth bomber program; all I need is a functioning grenade-launcher! Thank you. - pbass
  11. pbass
    Opix, You are communicating well in English; don't stop! It will get easier. - pbass
  12. pbass
    I'd love for control handle symmetry to work with sharp (cusp) nodes, as well. I.e.: You'd adjust one handle while holding a modifier key combo – say, Control-Option. Then not only would the other handle mirror its length, it would also mirror its angle. That would make me a happy camper!
  13. pbass
    Ok, I just stumbled on the already-existing shortcut: Control-Option-Drag to change stroke or pixel-width with Pencil or Brush. Is there any reason that same shortcut couldn't also be implemented for Pen tool stroke width? Or for the stroke width of a selected path, when the Node tool is active? Thanks.
  14. pbass
    Er, I think the Subject says it! I'd love a Modifier-drag way to change any brush width – vector stroke, _or_ pixel size when in Pixel Persona. But in the short term, I'd be happy if [ and ] grew and shrunk the stroke size – of the current pen/pencil/vector brush, if one of those are selected; or of the selected curve, if the node tool's selected. Thanks for considering this! - pbass
  15. pbass
    I should tell you that I now use a simple work-around that does the trick for me: Simply pressing the key shortcut for a non-drawing/manipulating tool, such as Y, G, H, or Z, hides the highlighted geometry (curve/node/handles) of the selected path, _without_ deselecting it. I've gotten into the habit of pressing Z to see my work without highlighted 'innards'; and just pressing it again to toggle back to the highlighted path. With geometry hidden in this way, you can still change attributes like stroke/brush, fill, fx, adjustments, etc, cuz the path is still selected. Problem solved! :^) – and so simply. - peter
  16. pbass
    I'm far from an expert with vectors, but when I watch most of the in-house vids at Affinity, I keep thinking to myself "I'm glad I already know what that term means", or "I'm glad I understand that the colour wheel effects 2 different parameters, depending on whether circle or donut is selected". There are a zillion small things that are perplexing until someone explains them to us. And unlike with Adobe products, there aren't shelves & shelves of books available at all levels. The problem is that videos are usually made by experts who are so immersed in the programs that they've lost all track of just how much complexity they've absorbed over the years. They can't even imagine what it's like to not know, for instance, what a stroke is. I think the product could really benefit from Square One videos. Ideally, they should be made by someone whose field is teaching, and who has learned about vectors only recently!
  17. pbass
    Fantastic. I still have CreatureHouse Expression on an old hard drive somewhere. It was a very creative and innovative program. Too bad CPU's of the era always bogged down once your Expression drawing got complex. - peter
  18. pbass
    Yes! Control of Curves by Cursor (CCC! :^) is central to many, many people's work flow. It can be very difficult to control subtle movements with the mouse (depending on how close the next node is). Also, just generally: For all movements that can be made with the cursor, it would be great to have modifiers to magnify the effect. I.e.: Cursor alone = Single pixel/point movement Add 'Shift' for 10 X Add 'Option', or 'Control' for 3 X Or something like that. Thanks for your consideration, devs!
  19. pbass
    Awesome. But just so you understand, it wasn't the node tool I was asking about, so much as the ability to transform selected parts of a curve or shape. But maybe you're thinking to integrate that capability with the node tool.
  20. pbass
    Ha, I completely forgot I posted this question – hence my delayed response. Thanks for the heads-up, J. Good to know it's at least being thought about. Cheers, - pbass
  21. pbass
    It occurs to me that people who work with their faces close to a big screen like a 27" iMac won't see what the big deal is – toolbars are thin. But many of us make do with smaller screens – even MacBooks. Then the horizontal toolbars (set to a legible UI prefs zoom level), rob significant, already-scarce vertical space.
  22. pbass
    Yes, exactly – the _option_ of toggling to vertical panel(s) for the Toolbar and the Context bar. But keep the option of the current UI, which suits horizontal/landscape images.
  23. pbass
    Hey folks, Thanks for all the tips and opinions. I would still encourage the devs to be conscious that vertical/portrait images (on our modern movie-shaped screens) require _all possible_ vertical space to be left for the doc, and _all_ controls to be off to the sides. That's the ideal, imho. For some of us, vertical images are half – or more! – of our work. There are useful work-arounds (as mentioned above); and toggling the UI in and out of the way is one of them. But designing in the option of a Portrait UI layout from the ground up would solve everything. Thanks for thinking about this! regards, - pbass
  24. pbass
    Yes, especially! It's surprising how many serious media folks work on a 15" MBP.
  25. pbass
    I just realized that the horizontal Context Toolbar (the info read-out one) is separate from the Toolbar. When I "Full Screen", toggle off Tool Bar (Opt-Cmd-T), and push the Context Toolbar to the very top, then when I toggle Toolbar back on, it's automatically above the Context one – i.e., off screen. :^( I'd love to get that Context bar off to the side too. Doesn't matter if it's on the w-i-d-e side; at least it's not taking precious vertical space. Thanks, - pbass
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