SunRiseMoon

Hello gdenby, sorry, where is it to find? Peter

Hello gdenby, Thanks for the answer, it was very informative. Reading and sometimes hearing english is mostly not difficult, but speaking and writing, especially expressing complex facts, is very is very difficult, rarely does it produce the same result as that of a native English speaker. So I will post it in german an will try to improve a Google-translation. Although I've known to extend contours, I've now realized that actually the path is converted into a shape, so that the contour colour is used as fill colour. A simple and useful method. In the tutorial posted by me https://www.youtube.com/watch?v=nPYfh0hc7tA there are two levels, first "Ink", including "colour". The "Ink" layer can be created as you explained very well. How to create the "colour" layer. At 0:50 you can see that this layer contains some curves, "Thumb & Palm", "index", middle-base "" ring "etc. These are closed curves that can be filled with colour. In your owl drawing, after expanding, the paths become shapes, then how can they be filled with colour, e.g. the eyes blue, the nose green. The eyes originally had a closed curve, the nose did not. how can you fill such areas with colour, if possible within the vector drawing, or is that only possible with many detours in the Pixel Persona? I know no way, from the line drawing in the plane "Ink", which can not be provided because of the conversion of the contours in forms inside with a filling colour, just creates a shape, which then with the colours for hand (yellow) and Sleeve (green) can be filled. How do you do this? regards Peter Hallo gdneby, Danke für die ausführliche und informative Antwort. Kontur erweitern habe ich zwar gekannt, doch nun habe ich erkannt, dass eigentlich der Pfad in eine Form gewandelt wird, damit wird die Konturfarbe als Füllfarbe verwendet. Eine einfache und nützliche Methode. In dem von mir geposteten Tutorial https://www.youtube.com/watch?v=nPYfh0hc7tA gibt es erkennt man 2 Ebenen, zuerst "Ink", darunter "colour". Die Ebene "Ink" kann so erstellt werden, wie Du sehr gut erklärt hast. Wie wird jedoch die Ebene "colour" erstellt. Bei 0:50 erkennt man, dass diese Ebene einige Kurven enthält, "Thumb & Palm", "index", middle-base" "ring" usw. Das sind geschlossene Kurven, die mit Farbe gefüllt werden können. In der Eulenzeichnung werden nach dem Expandieren die Pfade zu Formen, wie kann man diese dann mit Farbe füllen, z.B. die Augen blau, die Nase grün. Die Augen hatten ursprüngliche eine geschlossene Kurve, die Nase gar nicht. wie kann man solche Bereiche mit Farbe füllen, möglichst innerhalb der Vektorzeichnung, oder geht das nur mit vielen Umwegen in der Pixel Persona? Ich kenne keinen Weg, aus der Strichzeichnung in der Ebene "Ink", die wegen der Umwandlung der Konturen in Formen im Inneren nicht mehr mit einer Füllfarbe versehen werden kann, eben eine Form erzeugt, die dann mit den Farben für Hand (gelb) und Ärmel (grün) gefüllt werden kann. Wie macht man dies? Beste Grüße Peter

Hi, There is a video Tutorial Affinity Designer - "Shading Using Raster Brushes in Affinity.mp4" on YT (see screenshot). Since I am quite good with curves and shapes illustrations, also with levels, groups and masks, I would like to learn how this actually simple drawing was created. Although I can assign a contour in the panel by printing "different widths, but how does this work with such an ink drawing? How can I attach a skin fold, like an angled thumb, to the seemingly closed curve in the "thumb-palm" plane like a tail? There are several such "T's" in the drawing. Are they part of the curve? I can create the drawing simply with the drawing pencil or the pencil. The variation of line width, if I can draw lines individually, I can do it too. But closing these lines to closed curves so that they can be filled, as I can connect the skin folds so accurately and harmoniously to the outline, as I create the individual forms so precisely that the contours really match exactly, I can not , It is, to my knowledge, a video tutorial by Affinty, is there also a video tutorial about the genesis of the drawn hand? Unfortunately I have not been able to find a detailed description or a video about the creation of such a drawing for which you have to draw the object on several levels. I've tried a lot, but actually I'm running out of ideas. I can tell you what the Tutorial Affinity Designer "Shading Using Raster Brushes in Affinity.mp4" video shows, but how to draw sleeves, hands, individual fingers and skin folds to the necessary levels and then fill the closed curves not me. Thank you for every hint. regards Peter Google Translator. Es gibt auf YT ein Video Tutorial Affinity Designer "Shading Using Raster Brushes in Affinity.mp4" (siehe Screenshot). Da ich zwar recht gut mit Kurven und Formen Illustrationen, auch mit Ebenen, Gruppen und Masken umgehen kann, würde ich gerne erlernen, wie diese eigentlich einfache Zeichnung erstellt wurde. Ich kann zwar eine Kontur im Panel durch "Druck" unterschiedliche Breiten zuordnen, doch wie funktioniert dies bei so einer Tintenzeichnung? Wie kann ich eine Hautfalte, wie beim abgewinkelten Daumen, an die anscheinend geschlossene Kurve in der Ebene "thumb-palm" wie einen Schwanz anhängen? Es gibt in der Zeichnung mehrere solcher "T"s. Sind die Teil der Kurve? Die Zeichnung einfach mit dem Zeichenstift oder den Bleistift zu erstellen, kann ich. Die Variation der Strichstärke, wenn ich Linien einzeln zeichnen kann, schaffe ich auch. Doch diese Linien zu geschlossenen Kurven so zu schließen, dass sie gefüllt werden können, wie ich die Hautfalten so genau und harmonisch an dei Umrisslinie anschließen kann, wie ich die einzelnen Formen so exakt erstelle, dass die Konturen wirklich genau übereinstimmen, das kann ich nicht. Es ist meines Wissens ein Video-Tutorial von Affinty, gibt es über die Entstehung der gezeichneten Hand auch ein Video-Tutorial? Leider konnte ich bisher weder eine ausführliche Beschreibung, noch ein Video über die Entstehung solch einer Zeichnung, für die man das Objekt auf mehrere Ebenen verteilt zeichnen muss, finden. Ich habe einiges versucht, doch eigentlich gehen mir die Ideen aus. Das, was das Video Tutorial Affinity Designer "Shading Using Raster Brushes in Affinity.mp4" zeigt, kann ich, doch wie man Ärmel, Hand, die einzelnen Finger und die Hautfalten auf die notwendigen Ebenen verteilt zeichnet und dann die geschlossenen Kurven füllt, weiß ich nicht. Vielen Dank für jeden Hinweis. Freundliche Grüße Peter

Ich halte die extrem langen Ladezeiten der Fonts sowohl bei Photo als auch bei Designer für ein ernstes Designproblem der Software. Photoshop CS6 stellt mir ohne erkennbare Wartezeiten alle installierten Fonts zur Verfügung, das gilt auch für andere Programme, die alle Schriftarten verwenden. Ich erinnere mich, dass alte Windows-Versionen das selbe Problem hatten, doch Microsoft hat das sehr gut gelöst, spätestens seit XP, möglicherweise schon bei Win95, ist zu lange her. Doch das waren noch 16- oder 32-bit-Systeme, mit in Megabyte gezählten RAM, nicht mit 32 GByte. Nur für Affinity-Programme einen Fontmanger mit dem dazugehörenden Verwaltungsaufwand einzurichten, ist keine ernstzunehmende professionelle Option. Also wäre es höchst an der Zeit, dass die Programmierer von Affinity dafür effiziente Wege zu schaffen. Derzeit ist die Wartezeit, sowohl beim Designer als auch bei Photo unerträglich. Eine Reduzierung der Wartezeit um 20% wäre lächerlich und ungenügend. Google Translator: I find the extremely long loading times of the fonts a serious design problem for the software, both for Photo and Designer. Photoshop CS6 provides me with no discernible waiting times all installed fonts, this also applies to other programs that use all fonts. I remember that old versions of Windows had the same problem, but Microsoft did that very well, at least since XP, possibly already at Win95, is too long ago. But these were still 16- or 32-bit systems, with counted in megabytes of RAM, not 32 GB. Setting up a fontmanger with the associated administrative overhead just for affinity programs is not a serious professional solution. So it's high time the Affinity programmers created efficient ways to do that. Currently, the wait is unbearable, both at the designer and at Photo. A 20% reduction in waiting time would be ridiculous and inadequate.

Thanks Gabe. Der Grund ist ganz einfach. Für die Fotobearbeitung benötige ich bestimmte Panels, die also aktiviert sind. Für spezielle Aufgaben aktiviere ich manchmal zusätzlich andere Panele . Ist die Bearbeitung dieses Bilds beendet, wäre ein "Restore" meines gewohnten UIs optimal, das ginge jedoch nur, wenn ich mein eingerichtetes UI unter einem Namen abgespeichert hätte. Eigentlich ist es bei vielen Programmen möglich, mehrere UIs einzurichten und je nach Aufgabe unter dem jeweils gewählten Namen wieder herzustellen. Das vermisse ich bei AP. Beste Grüße Peter The reason is quite simple. For the photo editing I need certain panels, which are activated. For special tasks I sometimes activate other panels as well. If the editing of this image is finished, a "Restore" of my usual UI would be optimal, but that would only work, if I had saved my usually UI under a given name. Actually it is possible with many programs to set up several UIs and depending on the task to restore under the chosen name. I miss that option at AP. Best regards Peter

Hello, Wenn ich den Arbeitsbereich in Affinity Photo nach meinen Wünschen einrichte, also vor allem über Ansicht/Studio die gewünschten Panele auswähle und in Reitern im Studiobereich anordne, würde ich die Anordnung gerne als Vorgabe speichern. Nur finde ich leider keine Möglichkeit dafür. Es gibt nur dem Menüpunkt "Reset Studio", aber keinen "Save Studio" oder "Store Studio as...". Geht das irgendwie? Beste Grüße Peter P.S.: Möglicherweise gab es schon mal so eine Frage, doch da ich weder im Workbook noch in der Hilfe auch nur einen Begriff dafür fand, habe ich eventuell keine geeignete Frage stellen können:) Google Translation: If I set up the workspace in Affinity Photo according to my wishes, so especially on View/Studio select the desired panels and arrange in riders in the Studio area, I would like to save the arrangement as a default. Unfortunately, I find no way for it. There is only the menu item "Reset Studio", but no "Save Studio" or "Store Studio as ...". Is that possible? Best regards Peter P.S .: Maybe there was already such a question, but since I found neither in the workbook nor in the help even a term for it, I may have been unable to ask a suitable question :)

Nur, wenn man alle Photoshop-Versionen mitgemacht hat weiß man, dass auch diese sich im Lauf der Zeit zum Teil stark verändert haben. Mit dieser Einstellung darf man weder eine neue Programmversion noch ein anderes Programm, aber auch keine Updates von Betriebssystem und Treibern machen. Für mich gilt, dass ein Programm, mit dessen Bedienung und Funktionen und allem sonstigen zufrieden bin das ist, das ich nutze. Google translation: But if you've been through all versions of Photoshop, you know that these too have changed greatly in the course of time. With this setting you can not make a new program version or another program, but also no updates of operating system and drivers. For me, a program that satisfies its operation and functions and everything else is what I use.

Of course, the rotation centre point belongs to the object that is to be rotated. But the centre of rotation is not to be considered isolated, it is also part of the whole drawing. And the centre of rotation of an object can also be that of another object. It does not serve the flow of the work, if one can not repeat a chosen choice with another object, because one must find a point again. As with many other editing, there are different ways of personal preferences and different ways. I do not want to evaluate them. I am familiar with technical drawings, and it is not so that the rotation point has to be calculated. AD knows it naturally, otherwise the algorithm could not rotate objects. It would only be that the coordinates are displayed, and if they are displayed, you could click them and change the values ​​via the keyboard. AD is basically a technical drawing program that presents itself so that it does not scare graphic artists. Just like all of the vector drawing programs too. But as already mentioned, I have resigned myself to the fact that currently a numerical input of the rotation centre point is not possible. Let's see what future versions will bring. This is a more than strange way, but this does not solve the problem of non-existing input fields. If I want to rotate a second object around the centre of an existing circle, then the coordinates of the centre point of the circle are known, can be viewed and modified in "TRANSFORM". The actual coordinates of the rotation point are known in AD, but they are not displayed. Ätsch, I can only say. But the Google Translator can not translate the children's language, they say that if they stick someone's tongue out to say, I know it, but I do not tell you. Thanks for your help and patience.

The example with the Exposure X logo shows quite well that a numerical input of the rotation point or the assumption of the centre of a circle as a rotation point would be very useful. The usefulness is, of course, only achieved with constructions, especially if shapes have to be precisely fitted within circles. There are various machined parts, which in this example are each rotated by 60°. Also the centre is neither a circle nor a rectangle, the 6 side lines are small arcs. If one has the idea for this logo, the realization happens only by constructing the 6 coloured segments and the middle part. I was perhaps too clumsy, and the multiplication and rotation with ^J was difficult because if the point of rotation was not exactly the centre of the circle and of course the deviation grew with every copy. After a few attempts I made it, but I missed a numerical input of the rotation point. This does not have to be calculated, because e.g. when transforming, many points are displayed as x/y coordinates, so also candidates for a rotation point. And copy & paste are indeed common methods when dealing with programs. I thought I would not know where such an input can be made, because there are various inputs, for stroke, transforming, etc., I need not enumerate them. However, I have to realize that Serif does not have this option, although this would be very simple, space is sufficient in the line with the icon of the rotation point. But I have resigned myself anyway, but I find it a shame.

Yes it does, but snapping works with a certain tolerance, which can not be needed within an exact construction. With the available tools you get a result, but it is unnecessarily difficult and error-prone. An additional option by entering x/y coordinates would be extremely helpful and useful.

There are many drawings in which the rotation point is easily chosen with snapping, There are many drawings in which the rotation point can be easily selected or the exact coordinates are unimportant. However, constructing of geometric components it were very helpful to enter the rotation point with x / y coordinates. An input of geometrically relevant points, such as the centre point of a circle by a corresponding selection of the object, would be a great alternative. This is my opinion, I find it a pity that AD does not offer. The Exposure X logo is a simple but powerful example.

Exposure is a software of AlienSkin. https://www.alienskin.com/. The link because I have no rights to the direct presentation. The logo is easy on the one hand, on the other hand a nice exercise for AD. The centre point of the outer ring is, of course, the centre of rotation of all other parts. Using the method of help lines and intersections, you can quickly make a small mistake despite the tools of AD, then the copying around the inaccurate centre and you can make everything new. It is a construction, and for a construction an exact, thus numerical, input is meaningful. There are so many input fields when transforming, the strokes, etc., a numeric input of a rotation centre, which is identical to the centre of a circle, should be self-evident.

I would like to, but I've bought it and so I do not have the license to share it in a public forum. What do you suggest??? I can show 3 screenshots that make the problem vivid: The first one shows, how AI marks the curves (this is the drawing with the blue marked object rightmost). The second shows how the selection works when you click on that object in AD The third one shows, that, If an object is placed favourably, a selection is made without any neighbouring objects, but many parts are missing. This is an example of a sheet painted with approximately 45 flowers and leaves. As described in the opening hour, this file also consists of countless layers and groups, but here too is not a leaf forming a group, the thousands of curves are randomly divided. AI has thereby with the selection of a sheet or a group no problem, but in AD I found so far no possibility to do it. Since still many such vector drawings are created and offered in the AI-format, a viable way would be very valuable.

Every search of the rotation point in a construction, a really simple example is the exposure X-logo, is very tedious if the rotation center point can not be entered numerically. The coordinates would be known, since they correspond to the center of the logo. I really can not understand that such an important and useful possibility is not realized.

Hey, I have a file with 25 patterns in AI format and the same in EPS format. These are arranged in 5 lines and 5 columns. To select one pattern in ai, I click on it and all related objects are selected. In AD this does not work, because as soon as I click on one, all others are selected too. Since the individual patterns are not contained in a group, no selection can be made in this way. It does not matter whether I open the sample file in AI or EPS format in the AD, the selection of individual patterns is not possible. Does anyone know a solution, how can select an object from such a file created in the AI? Thanks

Hey, deutsch/englisch (Google translator :)) Weiß irgendjemand, warum man alle möglichen Werte außer dem Rotationsmittelpunkt in Koordianten mittels der Tastatur eingeben kann? Does anyone know why you can enter all possible values ​​besides the rotation center point in the coordinate by means of the keyboard? Thanks.

Der englische Text stammt von Google-Translate Fuji Sensoren sind anders auszulesen als sie die meisten anderer Hersteller. Fuji sensors can be read out differently than most other manufacturers. DXO hat sich bisher geweigert, Fuji in den RAW-Konverter einzubauen. DXO has so far refused to incorporate Fuji into the RAW converter. Ich weiß nicht warum, doch möglicherweise ist dies der Grund für eine schwierigen Vorgang, der noch nicht optimal funktioniert. I do not know why, but maybe this is the reason for a difficult process that does not yet work optimally. Nach meinem Wissensstand hat noch kein Hersteller das eigene RAW-Format veröffentlicht. According to my knowledge, no manufacturer has released their own RAW format.

What file-format do you use when saving? When I am saving the developed RAW-file I can choose between:

I admit, that the AD-Help is much better than the help of many other programs. But if more hard facts are known, it as so much easier to avoid silly errors. The begin of Designer Workbook was promising, but then it didn't fullfill my expectations. There were good examples, but not my subjects. I hope you can read my terrible english :unsure: Peter

Whenever a project like AD or AP is beginning, there's a need to specify, what it achieves (I don't know the correct vocable :unsure: ). So it it necessary to write a TECHNICAL REFERENCE. Every command, all parameters, their range, absolutely everything has to be specified and written down. Otherwise no program could be designed, no code could be written at all. And, first of all, it already exists. This TECHNICAL REFERENCE could be packed in a PDF or, with some examples and screenshots printed in a book. Very simple, very useful. :) Peter

Thanks, I had to select the text, because the AI-file had a wrong type of the font, ie. "light" instead of "regular". So I did correct it, and I left the selction. To scale the text wouldn't be enough. Thanks, it seems to be an issue of AD. I could fit the word "MARCHÉ" by chnaging the values of "Tracking" as well as the values of "Horizontal Scale". But it's tricky. I was surprised, because I thought, that all of the parameters of text are the same and well known. First I thought to need the "Light"-type of the font, which was not included in the bundle, but in AI the logo was alright. Peter

Hi, I've bought some illustrations with text made in AI. I did open a file in AD, and the text was too long, out of the border of the illustration. Is this a known issue or why does AD this? I thought, that especially text could never make such problem. The first screenshot is from the original guide, obviously made in AI, the second screenshot comes from the same file opened in AD, absolutely the right font, because I opened the same file in a friend's PC with AI installed, that illustration looked like the one from the guide.

Some time ago I've tried to make these concentric circles with th donut-tool, but it does only accept percentage values.

That was the point! Thank you very much :D

I used the history, because it is the quickest way for presenting the used steps. And yes, you're right. that the vector brush is nested in the circle, but look at the attaches video: Video3.zip When I change the colour, the white snow changes to green, and not the selected brush-vectors. The brush strokes remain blue, although they are selected. That is confusing.