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Posts posted by matisso

  1. There’s also the Auto-Correct function:




    Auto-Correct intelligently and automatically replaces or formats your text while typing. Several types of correction are possible: […]

    Replacements: provides a preset correction list or common 'typos', with the option of adding your own custom letter combinations and substitutions to be applied automatically as you type.



  2. 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.


    Best regards,

  3. 7 hours ago, fde101 said:

    A bit lost on that...

    I don’t know, man. Maybe the wording of the other thread wasn’t clear enough. Maybe it just was added to a staff’s blacklist of some sort, because they don’t seem to give a flying f… about it whatsoever. Probably frustration and apparently a futile hope that a fresh start on it will get at least any response from them.

    7 hours ago, fde101 said:

    There is already a modifier key that prevents that from happening (check the status bar when pointing at a segment with the node tool selected, should be easy enough to spot it).

    Are you talking about Alt/Opt+dragging? Yes, it doesn’t change adjacent segments but comes with instant cusp nodes. Doesn’t exactly help to keep the flow of your curve. We’re talking about constraining control handles’ angles whilst dragging.

    PS. I recently noticed, that a (really useful, BTW) Illustrator plugin, InkScribe, offers one of the options that @JET_Affinity was mentioning, i.e. a modifier that locks the the adjacent handles to their original angles when dragging a segment.

  4. That was clearly supposed to say “within Adobe environment” – it’s a busy day. :P

    Thanks for an extensive answer. Personally I started to learn all the stuff somewhere in the late 90s so Freehand was already becoming outdated at that time and Macromedia weren’t interested in developing it – or I just didn’t bother. That just goes to show there are even more ways to approach the process. Fingers crossed this thread will spark some reaction instead of ending up as yet another idle talk.

    regards, Matt

  5. So, @MEB, is there any chance the staff at least reacts in any way? A simple reply would suffice, like “it’s planned at some point” or “we think this should work this way and consider this a complete feature” or anything that makes any sense. It really sucks to feel ignored as a customer.

    On 9/20/2019 at 1:39 PM, JET_Affinity said:

    I'd prefer the momentary press of a modifier key over a separate setting that makes you leave the path in progress.

    Provided you have worked within Adobe, I wonder – have you ever needed to alter this setting right in the middle of editing an object?

    On 9/20/2019 at 1:39 PM, JET_Affinity said:

    In fact, I very well might want to freely alter the skew of the associated handles initially, and then constrain them to their new angles the angles in the act of performing a single bend.

    Hey, that sounds like even more advanced way to do this. Cool idea! While there are two main approaches to the issue (and I’m at least happy that Adobe incorporates both of these) I don’t think there’s currently a tool that is able to freely merge them like this.

  6. 1 hour ago, JET_Affinity said:

    Either behavior is equally advantageous in as many situations.

    Probably, although I personally strongly prefer the one that is currently missing in Affinity.

    Current Photoshop  has had a ‘Constrain Path Dragging’ toggle since a few versions back, which does exactly what we’re talking about. The moment they introduced the alternate behaviour I immediately toggled the thing on and never looked back… There is no keyboard modifier, you either use this mode or another, which of course can be toggled any moment, mid-editing. In my opinion it’s the best way from a user experience point since it forces no one to use an extra modifier to have the tool work the way he or she prefers. B|

  7. Hello,

    Could you guys please work on improving / adding extra functionality to a node tool? I’m talking about segment dragging, which currently affects adjacent nodes’ orientation. If you draw something with a pen tool usually you get the angle more or less right, it’s the curvature that’s the most tricky part. The easiest way is to grab a segment to tune the shape but when neighbouring nodes change angles, that doesn’t make any sense. Font editing apps as well as Adobe apps maintain node angle during editing – so that segment dragging doesn’t become “editing a segment and the two adjacent ones”.

    I know that you can press Shift to keep node’s angle when dragging its handle, but you’re editing just a half of the segment this way. It’s nowhere near as comfortable as being able to drag a segment and alter its overall curvature. It’s particularly indispensable for work on logos, lettering, etc.

    There could be a keyboard modifier for altering this behaviour (as I am sure some people are comfortable with it) or preferably a toggle button.

    This has already been discussed here, but nothing happened in five years. @Ben, @MattP is there any work being done on it, or is this request dismissed?

  8. Just a quick sidetrack, if you please: is there any work being done towards a DAM solution that would be useful for batch working with RAW files and also be able to save the edits to a separate sidecar files, or database? Currently, developing pictures one by one and also making it a one shot process with no option to go back and change develop settings make Photo useless for any extensive shooting session. You must rely on third party app for an efficient RAW workflow.

  9. That’s pretty odd, I would assume this would happen in rather poorly designed fonts. Maybe the reason is somewhere else, or maybe the ones you mentioned do have bugs (not entirely impossible). However,  given how popular Minion, Tahoma and Myriad are, it’s hard to assume no one else noticed it before using software other than Affinity, so maybe there’s indeed a glitch…

  10. On 3/27/2019 at 5:39 PM, Dureox said:

    I want to know if and how I can convert black into a realistic white without losing the black shadows. How I can do this? Thanks in advance :)

    Since you haven’t provided any example, I assume that would be, for instance, turning black cloth to white? In this case, like @Old Bruce said, masks and adjustments. But that may be a tricky one to nail. Light will bounce quite differently against black than white (so shadows in the original picture will look different that they would have if the object was truly white) and even if you manage to make it white, making it realistic and convincing will requite you to go quite the extra mile with additional adjustments and possibly some manual editing. There’s no easy way of doing it, I’m afraid. 16-bit file would be very good for that kind of manipulation since adjustments will be rather intensive and you’re likely to run into banding when doing such stuff in 8 bits.


  11. Sorry for being harsh here…

    My personal opinion – you'd better give up using Photo for RAW development and use anything else. Seriously. 

    Issue #1, which IMO is serious enough on its own to neglect any others – no sidecar files saved with the development settings, making each of your development a one time better-do-it-right attempt. Such workflow (with external settings), obviously, is incredibly useful if you want to revisit your photo for various reasons – e.g. because the engine got updated and you might try and compare how it performs. Or you simply might want a different version of your photo – going back to RAW is as lossless as it can be, compared to adjusting the developed photo. I’ve used several RAW processors and most of them adapt this approach. If not, they keep an internal database of the settings, but nobody but Affinity thought it would be a great idea to make your settings go pooof when you hit the “Develop” button. Yes, there are presets, but this isn’t a realistic choice, you won’t be saving a preset for each photo.

    Issue #2 – if the rant above still keeps you from changing your mind about AP for RAW files, try moving the “Blackpoint” slider and watch your blacks go clipping in no time. It’s a really cruel joke.

    Now there are some nice things in it, particularly the option of making additional, localized adjustments by means of masks aka overlays, which can be prepared using advanced selecting and masking features that AP has (although it has its own faults, you can’t adjust all of the parameters when using an overlay, unlike in Lightroom). But it’s a small gain compared to the fundamental flaws this engine has. Move along and save yourself some frustration.


  12. Hello,

    Today I needed such a simple drawn shape and thought I would do it in Designer, since I convinced my employee to buy a licence. However I ran into a strange and annoying bug – merely upon changing zoom level, the brushed stroke changes its appearance. I have included the link to an animated gif that shows the shape at 75, 100, 150 and 200% zoom and a source file as well. What’s even more frustrating, I actually discovered it after i had exported the PNG file at twice the resolution and found out it the stroke changed in it. Try opening the attached .afdesign file (Windows 10 at my end here at work) and clicking Ctrl + + and Ctrl + - and see the stroke going “alive”.

    Please see this: https://imgur.com/a/8F7DUB5



  13. So I sprained my ankle exactly a week ago. No more longboarding for a while! :/ Since I got my X-ray images on a CD, I thought it would be nice to play with them a little.


    I didn’t have anything particular in mind, this was freestyle, and somehow ended with a title page for a magazine, I suppose. :D


    I used Designer for the final layout, although the DICOM images were processed in Photoshop. It was my go to app and frankly, I didn’t think for a moment if Photo could handle DICOM, too. I wish there was a multi-column functionality in AD…


    In case you were wondering, the typeface used was Bona Nova family. It’s been released fairly recently and it’s a result of a tremendous collaboration between Andrzej Heidrich, the traditional graphic artist (who also happened to have designed banknotes in Poland among other stuff) and a young but already prominent type designer, Mateusz Machalski. If you’re interested, you can read more at http://bonanova.wtf.





  14. On 2/2/2018 at 2:13 AM, matisso said:

    These are very good things going on. Kudos, @Ben and the rest of the team!


    While you’re at node tool, would it be possible to expand segment dragging functionality, so that there’s an option to keep nodes’ direction instead of having them rotated like it currently works? I know you can grab a single handle and constrain the editing direction by holding Shift, but editing curve flow by dragging a segment is often much more natural. For type design or modification it’s actually indispensable. Shift modifier seems to be available for segment dragging, doesn’t it? I miss this functionality very much and I think than anyone dealing with type or logo design would find this really useful.


    Any feedback on that gentlemen? Or should it rather be a separate feature request?




  15. These are very good things going on. Kudos, @Ben and the rest of the team!


    While you’re at node tool, would it be possible to expand segment dragging functionality, so that there’s an option to keep nodes’ direction instead of having them rotated like it currently works? I know you can grab a single handle and constrain the editing direction by holding Shift, but editing curve flow by dragging a segment is often much more natural. For type design or modification it’s actually indispensable. Shift modifier seems to be available for segment dragging, doesn’t it? I miss this functionality very much and I think than anyone dealing with type or logo design would find this really useful.




  16. 3 hours ago, MEB said:

    Can you please attach your afdesign file here (just the bit shown above in your screenshot - the sign-up box - you can delete the rest of the design) along with a screenshot of the Snapping Manager settings please?


    @MEB, this is just a Modal Windows.afdesign file from the Grade UI Pack, like I said. For the sake of convenience though – there you go. There's also the screenshot of the Snapping Manager you asked for. And a few more showing moments when it goes “wrong”.


    However, I don't really think the snapping settings are the key here. It’s the snapping that takes over pixel alignment that appears to be the problem.






    Modal Windows.afdesign


  17. Thanks @MEB for the hint on snapping to objects. Indeed this might be likely is the issue, I had my mid-points snapping on while testing this on the Grade UI file (I had all of them ticked, to be exact). It's worth noting that it doesn't always behave like this. I had to make a few attempts to recreate it, because sometimes the object snapped right into the pixel grid – that would actually explain the mechanism you described. However, if it also happens that it doesn’t snap where it’s expected, well, something isn’t right. @arechsteiner pretty much nailed it – it says force, so please actually force.  :)


    Right. So I actually played with it for a bit longer, trying different snapping options and carefully observing what is happening with the object as it snaps to different candidates. It looks like this behaviour is also caused by snapping to objects that are off-grid. Text is notorious for creating such situations, as it doesn't follow the pixel grid. You might select all the text objects in the layer palette, and choose “Exclude From Snapping” option from the context menu. Then again, that would be extremely tedious to do it for every text object in your design and for every objects that you prefer to stay off the grid, for better antialiasing or whatever different reason. That's where another limitation comes in, namely the lack of selection of objects based on their kind, attributes, or so. Enter Illustrator: Select / Text Objects. Among other selection options, like select similar objects, same opacity, colour, stroke weight, etc. ;) But still it wouldn't address the underlying issue of objects not being pixel aligned, or snapping taking priority over it, if you like.


    2 hours ago, MEB said:

    Picking my example above: if you want to align or size an object to half of another one with an odd width value (for example 101 px) what should the program do? Should it set the width of the new one to 49px, 51px or 50,5px?


    That’s actually easy (from a user’s perspective, ofc) – ideally, give the user a choice in preferences. One option would be to force integer values, another one – allowing fractions in pixel forcing mode. Or make the decision on your own, like Adobe did.


    For the record, in the described case Illustrator snaps to either smaller or larger integer value, ± 0.5 pixel difference depending on from which side you draw the second, smaller object. It doesn’t make any difference to the eye. When centering objects manually with the help of smart guides, the object stays pixel aligned (technically being 0.5 px off the centre of the one it’s being aligned to). If you use an align feature, and centre them, it aligns perfectly, not pixel-perfect. Then again, Illustrator also has the “Align selected art to pixel grid” feature. ;)


    Sorry for a slightly harsh tone of my previous post. It’s just that I see a lot of potential in Affinity apps but when I try to use them in a real world environment (aka actual work) I run into various glitches and I end up doing things longer and less comfortably than I would have done it using Adobe apps. Sure, a part of it happens because I’m far (well over ten years) more experienced in the latter, but some features like this clearly work in unpredictable ways (the infamous constraints/ungrouping issue being just another example).




  18. Same issue here. This has been around since 2014 (see https://forum.affinity.serif.com/index.php?/topic/452-pixel-snapping/) and still isn't properly implemented.


    Meanwhile it's 2018 and I'm getting this (this is a part of Grade UI pack, which everyone who has Affinity can grab):




    Just moved the top box, with with pixel snapping turned on, without snapping override (Alt-key). Fraction coordinates, blurred artwork. When is this going to be fixed? As in: working? When preparing this screenshot I drew an artboard to export this part of the file. Guess what: despite pixel snapping the artboard got a half-pixel height. FFS.


    I paid for both Affinity apps and even got my company to buy another copy of Designer. I get to read a flurry of posts about yet another platform releases, awards of the year, how Affinity can replace Adobe apps, whereas basic stuff like this still causes trouble.


    This is extremely frustrating and disappointing.




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