affi.usr

Honestly they won't care what few individuals want here, just because these might have an individual need for this or that. All in all it won't be a single platform specific wish concert, so for scripting they have to take something platform portable and interoperational here. Meaning how should Windows users deal and benefit from AppleScript at all here? - So their best choices are probably to use JavaScript (which BTW is also supported by Apple) or Python here.

You can use a right-angled triangle to work the degree out see gif below.
 

How achive in Affinity Photo / Affinity Designer (I don't know which application will be better for that) result some like that based on photography:
 

 
Could you sugested me which techniques try, what I should do? I've not idea how start with it. Is only way draw a outlines by pen tool for start with this?

I have a simple question. I know how do it, but is not very productive. How make a frame in post stamp like style in a easiest way?
 
OK, I create rectangle, then I create circle, I copy circle few times, I select circles, I duplicated them. I repeat duplication of circles as I get line maked from circles standing together on one side of rectangle. I repeat this process to next side of rectangle. At the end I use binary minus front on rectangle backgroud.
 
Is a easy way to duplicate circles to make standing together in one line in Affinity Designer? How set distrubution of duplicated circles to get the same measure of space between them in the easiest way? Could you sugest me any idea?

I have a simple question. I know how do it, but is not very productive. How make a frame in post stamp like style in a easiest way?
 
OK, I create rectangle, then I create circle, I copy circle few times, I select circles, I duplicated them. I repeat duplication of circles as I get line maked from circles standing together on one side of rectangle. I repeat this process to next side of rectangle. At the end I use binary minus front on rectangle backgroud.
 
Is a easy way to duplicate circles to make standing together in one line in Affinity Designer? How set distrubution of duplicated circles to get the same measure of space between them in the easiest way? Could you sugest me any idea?

Firstly, I wanted to take a moment to thank Serif and their programmers for making such a wonderful piece of software. I'm looking forward to one day eventually making the jump from Adobe but I thank you for giving me hope. I already purchased and strapped in for the ride as I know that you lot are going to accomplish amazing things.

This is all just constructive criticism and feedback from someone who wants to be able to use your product in a regular and professional way.

A feature you really need to put towards the top of the update pile is the Shear/Skew tool for text and objects.
 
Shearing and Skewing fonts and objects are things I do a lot of when I'm working with Adobe Illustrator. It's not a matter of "if" I use it because I always end up using it to some degree at one point or another when I'm working on different projects.
 
For those who might not know the tool by name but know it in function.
 
Shearing/Skewing Shapes Tutorial
  Shearing/Skewing Fonts Tutorial  
This is a type of feature I would need to have included in the Affinity package if I were to ever make the jump from Adobe. The tool is simply too valuable for me as a  designer. This being said, Affinity DOES include a transform menu (props where earned) within their software which gives you slight adjustment to what objects and font you're working with. The problem is it simply does not work in a way which is smooth and freeform like it exists in Illustrator. I cannot use transform in the same way I can use Shear or Warp.
 
I've included the above links to give the programmers and the other members of the community the level of functionality I am looking for with regards to a Shear/Skew tool for the Affinity Designer. I would hope this is something which is actively being pursued as it's certainly something that would be essential.
 
Thank you in advance for reading my thoughts and concerns and I wish you all success.

All The Best,
 
-Copernicus
 

Surrounding your artwork-in-progress with darkness (or garish color) has been recognized as bad practice since long before graphics computers. It's why the prepress color houses went to great lengths to provide neutral gray environments illuminated by color-balanced lighting for client proof-approval of color-critical work.
 
Human vision seeks contrast and even exaggerates it where it is low. Dark software interface backgrounds cause your artwork to look more "brilliant" and higher-contrast than it really is, which is the last thing you want, especially if designing for reflective print. It's why it's also bad practice to work in low light rooms. The problem is bad enough given that monitors glow. That problem is just exacerbated by working with the lights off (or dim) or by surrounding your artwork with a black interface. And it is not easier on the eyes. It contributes to eye strain; the same reason the non-backlit grayscale reflective Nooks and Kindles were more comfortable for reading a novel.
 
All the self-proclaimed "highly visually sensitive and color-discerning" graphic artist who works in the moody dark (while, ironically, sweating blood over all the hair-splitting nuances of every color management setting) has to do to see the comparatively blunderbuss principle in action is:
 
1. In your low-light working environment, launch your favorite graphics program. Fill the page with a rectangle and color it with the darkest "rich black" you can muster.
 
Looks really black, doesn't it?
 
2. Now turn on the lights, shut down the computer and ask yourself: How dark is the monitor? Maybe 80% grey? How, then, can that same monitor be showing you a darker black while turned on and glowing than it actually is when it's turned off and not glowing at all? It can't and it's not. Your eyes are playing tricks on you even in proper lighting and you're just making the problem worse with dark interface surroundings.
 
What's one of the hallmarks of stunning professional-quality graphics and dead giveaways of amateurish work? The range of detail in the shadow areas. View RGB (which is what your eyes are seeing on your monitor, even when the document is in CMYK mode and you've sweat a gallon over color management settings) in dim light or with blackened surroundings in the interface, and your eyes will see more detail in the shadow areas of your artwork than will be there in the final. Then you'll look at the printed (worse, published) results and think the printer mucked up your masterpiece.
 
The same principle is at the root of why beginners so often think a red graphic on a black background makes a great logo.
 
No, this "blacked out" interface nonsense is just a trendy crowd fad, like dressing up in black leather pirate costumes while riding completely black motorcycles and wondering why drivers don't see you. I'll rejoice to see both fads finally fade away into the curiosity annals of laughably bad ideas. The only place for them is Halloween parties and Ripley's Believe-It-Or-Not museum.
 
JET

Meh. I could be alone on this one but a lot of people seem to just appreciate as dark a UI as possible in an effort to let the interface fade into the background and visually make the work the focus. It's also a lot easier on the eyes. Also, having a colored interface can cause perceptual issues with color. I forget the term, but as an example: putting something red next to something green will make the red appear to be a different chroma than if it were next to something, say, blue. Better to use neutral colors for the interface in order to keep all colors in the work appearing as accurate as possible.

Check Snapping and Dynamic Guides or guides based on object as start point for you.

Alex you are great! I really understand now what is expand stroke is. Yes, what you wrote is make sense for me. Now I more oriented how place my design thoughts in Affinity Designer application enviroment than before this topic. Thank you for all answers!
 
From practicall point of view which model are used in programming is less importand from understand how apply our plans in graphics results.
 
At the end of topic I would resolve one issue. When I want boolean operation in picture I have to convert it to curves. Why? Can it be simplier select picture, curves to dealing with on the process and makes operations without that step (convert picture to curves)?

Why
 
Choosing right font combination is essence of graphic design. I think it should be enhanced on two field - basic filtering and font management (for Affinity Publisher).
 
How
 
Filters - user can filter available font by checking option like fx. Corel Draw did. If I looking Serif font to match used Sans Serif I simply check "serif". Option will use available font metadata, filtering by family, styles is base.
 
Selecting by available chars / glyphs / letters  / characters - is crucial for multinational support. It's saving time. When I use polish text letters like  ą, ę, ł, ó, ź many times are not available in font. In place fx. ą is square or character from another font. It is not look nice. On this function is simple inputbox where I put my letter like "ą" and Affinity Designer / Affinity Photo show me only fonts which can view this char. Is a very simple and may be unique advantage (I don't find it in any application)
 
Font presets - posibility set shortcut to prefered fonts. It's like most used fonts, but I choose fx. "kids stuff "- my preset and get drawing font to project for kids, and then when I change to "industry business" I have classic fonts. At some times last and most used fonts are not enough. It should be only global feature, because for one document text styles are enough.
 
*Font management - install / deinstall font, font sites integration like Font Squirell - I'm not sure that should be part of AD / AP. I prefer here more sofisticated DTP app. I'll be think about font site integration for all Affinity apps, because in some place is very handy on creative desig if user looks for more unique typoghaphy.
 

Why
 
Choosing right font combination is essence of graphic design. I think it should be enhanced on two field - basic filtering and font management (for Affinity Publisher).
 
How
 
Filters - user can filter available font by checking option like fx. Corel Draw did. If I looking Serif font to match used Sans Serif I simply check "serif". Option will use available font metadata, filtering by family, styles is base.
 
Selecting by available chars / glyphs / letters  / characters - is crucial for multinational support. It's saving time. When I use polish text letters like  ą, ę, ł, ó, ź many times are not available in font. In place fx. ą is square or character from another font. It is not look nice. On this function is simple inputbox where I put my letter like "ą" and Affinity Designer / Affinity Photo show me only fonts which can view this char. Is a very simple and may be unique advantage (I don't find it in any application)
 
Font presets - posibility set shortcut to prefered fonts. It's like most used fonts, but I choose fx. "kids stuff "- my preset and get drawing font to project for kids, and then when I change to "industry business" I have classic fonts. At some times last and most used fonts are not enough. It should be only global feature, because for one document text styles are enough.
 
*Font management - install / deinstall font, font sites integration like Font Squirell - I'm not sure that should be part of AD / AP. I prefer here more sofisticated DTP app. I'll be think about font site integration for all Affinity apps, because in some place is very handy on creative desig if user looks for more unique typoghaphy.
 

Thanks, I already know that list. It's a great tool but only useful for the standard keyboard shortcuts. A print function in Affinity would also work for shortcuts that have been customized by the user. By default a lot of functions haven't got a keyboard shortcut assigned so we need to define our own shortcuts if we want to invoke them by pressing some buttons on the keyboard.

Same for SVG.  Many effects can be pure vector.  Outer shadow is one effect that could be pure vector, but gets rasterized.  Another is Outline.  I like the how effects can be quickly added and adjusted, but do not like that they are rasterized when exported to SVG.  I can create the same effects manually by creating additional separate shapes in AD and Inkscape.  AD would have a big advantage if it did not rasterize effects that could be exported as vector.

Problem is that all too often AD will rasterize all content in export to PDF. It should be possible for example to keep shape edges vector and rasterize only contents. Noise fills should be able to have vector bounds. Shadows should be bitmap elements placed inside affected shapes (InDy had this right from version 1).
 
Please beef up PDF export.

Intro
 
I found in some post on forum moderator opinion that OLE (Object Linking and Embedding or something like that) will be limited to only Affinity Publisher.
 
Request
I think great idea is get ability to make simultaneous edition in Affinity Designer and Affinity Photo. For example in Affinity Designer we create portfolio frame and in Affinity Photo we edit photograph in Liquify Persona. I understand programming question but from my perspective of usability of application working together by linking it's a big step. I think Affinity Published could take advantage too - in place duplication a lot of feature of other parts of suite it can be more oriented on hyphenation and typicall typography issues. Linking files in AD, AP i APu get advantage thinking more about on design in place witch application choose. At hypothetical scenario we think about interesting way to create portfolio using Liquify Twirl Tool and vector frame with ability see final effect in real time.
 
It would be feature for next 2.x generation.

Intro
 
I found in some post on forum moderator opinion that OLE (Object Linking and Embedding or something like that) will be limited to only Affinity Publisher.
 
Request
I think great idea is get ability to make simultaneous edition in Affinity Designer and Affinity Photo. For example in Affinity Designer we create portfolio frame and in Affinity Photo we edit photograph in Liquify Persona. I understand programming question but from my perspective of usability of application working together by linking it's a big step. I think Affinity Published could take advantage too - in place duplication a lot of feature of other parts of suite it can be more oriented on hyphenation and typicall typography issues. Linking files in AD, AP i APu get advantage thinking more about on design in place witch application choose. At hypothetical scenario we think about interesting way to create portfolio using Liquify Twirl Tool and vector frame with ability see final effect in real time.
 
It would be feature for next 2.x generation.

Thank you! It is what I'm looking for!  :)

I think about something similar to Corel LiveSketch in Affinity Designer:
https://www.youtube.com/watch?v=gYdxHxdl7EI
 
I can find video but in Illustator was similar function (probably CS6, other version - I don't know). When you drawing line you can adjust his shape by drawing part of them again.
 
In short: fx. you're drawing curvy line. Next you are adjusting this by drawing them few times on tablet. If you're drawing some part not stright line but more similar to circle line is changing in real time to more curved. It could be alternative to pentool and make sketching for some people easier. For me more natural is use few shorts lines to make one longer. (Of course this functionality don't replace talent, but this idea looks interesting as extension of Bezier curves etc.).

I think about something similar to Corel LiveSketch in Affinity Designer:
https://www.youtube.com/watch?v=gYdxHxdl7EI
 
I can find video but in Illustator was similar function (probably CS6, other version - I don't know). When you drawing line you can adjust his shape by drawing part of them again.
 
In short: fx. you're drawing curvy line. Next you are adjusting this by drawing them few times on tablet. If you're drawing some part not stright line but more similar to circle line is changing in real time to more curved. It could be alternative to pentool and make sketching for some people easier. For me more natural is use few shorts lines to make one longer. (Of course this functionality don't replace talent, but this idea looks interesting as extension of Bezier curves etc.).

"Finished" means the company is no longer in business so there will be no more new features, no more updates or upgrades, no bug fixes, & no more customer support.
 
It also means it will get better & better in our memories the longer it has been since we used it.  :lol:

Affinity Publisher isn't available for Windows and neither is Designer for iPad. All of these products are in development just like Affinity Publisher for the Mac. The only way to speed up the release of Publisher would be to publish it broken and I'm sure nobody would want that.
 
The Windows team are experienced in Microsoft front-end technologies so can't currently contribute to Apple OS versions of the products. The backend developers are already working on Publisher so unless we can find additional developers with similar (15 years C++ in DTP) skills then the only option is to wait until the work is complete.
 
Commeting on the lack of progress maybe a way to vent your frustration but for all the reasons above it won't change the release date.

Is this feature on roadmap of Affinity Photo?

I start read Photo Manual and I can't find information about massive RAW development with batch processing. I'm new in app so I maybe wrong, but it's look like I can open RAW file, but is limited to File > Open and I don't have option open all files in folder with navigation mode (next / previous file) for massive edditing.
 
What I want
 
1. Select folder or files in folder - at once above 200 RAW files
2. Open it all above 200 RAW files in Affinity Photo without crash
3. Develop RAW one by one fx. I start develop RAW file no 1, next file no 2, next file no 3, ..., next file no 241 with posibility turn back to previous file and for example delete file from harddisk (remove scene duplicates) or change develop setting
 
4. When I set RAW settings in Develop Persona I want next set:
        a ) the same file name for output file fx. mountain-
        b ) set output folder fx. "my vacation"
        c ) set dimension, DPI, format etc. for all files but by setting it once fx. 300DPI 1024x768 JPG
        d ) export all files by one click
 
Result:
In folder "my vacation" I have output above 240 JPGs with 1024x768px dimension, 300DPI etc. with file convention mountain-001.jpg, mountain 002.jpg, mountain-003.jpg,..., mountain-241.jpg.
 
Question
How do that in Affinity? Is it a posibility work in Adobe Lightroom style in this app?
 
Comment
My question is not about posibility develop RAW, because Affinity Photo do that, but about massive edition. At this scenario I have 200-600 RAW files and I want edit them all in Affinity at once but without openning files in parts of fx. 20 RAW files, but with proceed in queue. For more explenation my question I publish video with what I want and I get in Adobe Lightroom here.
 
As you can see in the window part below I get thumbnails of RAW files. When I click on them I can switch to another RAW file and develop it. If I want I can go back and change setting of RAW. When I set in Develop all settings I simply use Export. On this window I set what I want, press export and go drink tea when Lightroom do rest.

I make a lot of document with the same values of bleed and slug. Most of document are for the same type of industrial paper cutter guillotine. They need 3mm space from each side free space in and out of project to avoid bad cuts. So I started all project with putting the same values. It is a waste of time. Maybe is not troublesome but it is anoying.
 
My dream is simply set them one and next use preset for it when I started new document.
 
Designed heaven it will be when I'll be can combined this with preset of guideline for make guide of safe area to work it.
 
I give some example. I make A4 poster. I start new project. Program automaticly remember last preset of bleed and slug so I don't need set it up manually. Before I make preset - slug/bleed area 6mm. On this preset I have option "safe guideline space" - I set it to 5mm. I create new file.
 
I have bleed and slug setup to 6 mm on earch side - up, down, left and right to 6 mm.
I have automaticly generated guideline based on A4 size (210x297mm) - portrait:
 
up = +5mm
down = -5mm
left = 5mm
right = -5mm
 
so position of guideline is (0,0 is a left up corner of page):
 
up = 5 mm (0+5)
down = 292 mm (297-5)
left = 6 mm (0+5)
right = 205 mm (210-5)
 
For more advance I'll be add advance option with automaticly calculated guideline. I simply make one row with value:
 
horizontal / vertical guideline - checkbox
formula - in format +5, 0.25% (= 0,25% of page dimension), divison or multiply fx. /10 (210/10 = position 21mm)
color - fx. green
 
Now when I create new document I set up safe area when machine not cut my work and I get initial guideline to position my elements.