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About matisso

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  1. +1 for true vector brushes, this has been mentioned countless times already! This could be nice, too, especially if it were possible to randomise size, rotation, opacity, etc. Both blobs along the path and a single click blob tool would be useful. Cheers, Matt
  2. Hello there, the picture says it all, I guess, but just for clarity: there seems to be a hard coded Mitre limit in the Contour tool and there are situations where it needs to be adjusted. These are plain vertices, no funky extra ones underneath, yet the obtuse corner is behaving as expected but the acute angle leaves no choice but to either alter the geometry or switch to Illustrator’s Offset tool, where it can be adjusted. Please make AD even greater, thanks! Best regards, Matt
  3. +1 Yes please, fix this, Affinity! I’m just getting acquainted with the Pixel Persona in AD, as I am mostly a vector guy, and this is a real productivity killer here, too. Even the smallest change to some of the tool’s parameters (as basic as width) causes the highlight in the brushes panel to vanish. I did a project a while ago that relied pretty much on brushes (both Designer and Pixel personas) and the only reasonable way to manage brushes was to create an individual collection so I could remember which one is for what, but that is not the way to do it! However, with vector brushes you can always paste properties to a different object like @Jonopen had mentioned – which is a nasty workaround but does the job. Not possible for pixels, obviously. cheers, Matt
  4. Hello, I can’t enter anything above 50 px in the radius input box. The only way to successfully achieve a higher value is to grab an object’s handle (be it corner, or side, doesn’t really matter) and drag it left to decrease the value and right to increase it. Unfortunately there’s no cursor on my screenshot but that’s how I did it. Immediately after increasing the value via the input it resets to 50. The same for moving the pop-up slider. cheers Matt
  5. That’s some lovely set of added features there, thanks! Hats off to the A-team! cheers, Matt
  6. Yes, but you seem to ignore the fact I had mentioned already. Microsoft is a giant player, so is Adobe, Corel probably to a lesser extent but still. Which is exactly why they can afford bundling very expensive fonts that you mentioned. Affordable, for the end user. Do you happen to know how much Corel or Microsoft are paying for these? From what I found googling, “Usually Japanese font has 8,000-16,000 glyph so making new fonts means you need to make at least 8,000 glyph, which is pretty heavy task.” Welp. You want kinda premium software (I can’t wrap my head around designing 8000+ glyphs, even if some contain the same components) at an affordable price, am I getting it right?. Serif would probably have to significantly ramp up their sales for it to be possible. But that’s just my wild guess. Have you ever done any type design?
  7. Hello, Sure but I suppose that even the Corel’s user base is far greater than Serif’s, not to mention Adobe’s. Even if fonts are bundled with the software, font designers still must be paid for their work, so the deal is fair for them. Otherwise no designer would agree to that, obviously, as type design is very labour intensive and time consuming. The company releasing the software will then hope that their investment in bundled fonts will pay off with enough licences sold. The question is how many licences Serif can sell, whether bundled fonts would be a factor affecting sales (that would depend a lot on both quality and selection of potential fonts) and whether that would affect the price. Remember how competitive their prices are even without any promotions. That calls for cutting corners somewhere, I imagine, and I wouldn’t hope this changes in the future, unless Affinity prices goes up and / or there will be clear indicators that such bundling will be a strong incentive for potential customers. You’ve got plenty of sites around that sell fonts in bundles already. But 99% of it is probably Latin script rather than Japanese… Which (kinda) proves there is far less supply of Japanese fonts, so logic dictates these would fetch higher prices… But you want to get something which is quite rare (compared to how many Latin script fonts are being released) and also at a low price. Doesn’t work that way, I’m afraid. cheers, Matt
  8. Yes, please. I have no clue why this has so little activity? This is needed very, very much. If you get some artwork that had all been flattened (i.e. layers and groups removed), picking out the things you need can be really nasty. I personally would opt for Alt for subtraction (also, drag+Ctrl(Cmd) currently selects objects directly within groups, which is handy on its own) and also another mode, Ctrl(Cmd)+Alt for intersection – which would not select anything additional, unlike inversion. 📣 Go, Affinity, go! 📣 regards, Matt
  9. Alright, so this issue is somewhat similar to the one discussed before↓ but on Windows, so no separated mode. I’m running 1.8.620 on Windows 8 64–bit. The thing is that once you Tab away the UI, you can bring back the Character panel by hitting Ctrl+T (even though it’s not in the shortcuts). The problem: AD can’t display a single panel – so it pops up all of them back. However, it leaves both upper toolbars and Tools panel off and the only way to get them back is by turning them manually one by one. Regards, Matt
  10. Yay! I launched latest beta only yesterday and thought “heck, this expand stroke finally produces some pretty decent result” and presto, today is the stable release day! Kudos guys and thanks! Regards, Matt
  11. Is there any prospect of this being implemented? I know that many other apps don’t offer this functionality either, but it’s a real game changer. Being able to move multiple layers sandwiched across the stack just by selecting one of them is a massive time saver.
  12. There’s also the Auto-Correct function: Regards, Matt
  13. Hello, Today I needed to colour match a stock picture with the still from a graded video clip so I hoped I could use the said feature. I have a pretty solid background in Photoshop and am no stranger to advanced editing, yet even after reading the help entry I was quite baffled as to why after loading two images no adjustment was applied to my picture. Your video tutorial has finally made it clear – however I instantly thought that this is far from the user friendly solution. There is no explanation which image you are loading first (processed or original), nor any kind of feedback after you pick either (there’s no way of knowing whether you perhaps had accidentally picked a wrong picture, as there is neither path nor thumbnail displayed after you confirm your selection). Right now I’m in the process of reading the “The Design of Everyday Things” by Don Norman and felt that this is a fitting example of a feature designed in a way that doesn’t reveal how it actually works to an unfamiliar user. So I played with this window a bit and made a simple three-step Figma prototype that hopes to improve things a little. Now there’s a (hopefully) clearer indication which images are being loaded as base and processed ones (and an easier way to go back if you want to change your mind). I feel there should be some sort of a message displayed if you load images that can’t be compared – hence the third screen. Thoughts? Best regards, Matt
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