Wosven

A version for Winter

Fixx,
Read the initial post in this thread. As I understand it, It's about pressuring Serif, not users, to license Astute Graphics's code in order to add it to Affinity's standard feature set, not necessarily as a plug-in. That is very specific. None of us on the user side knows how that kind of back-end deal between Serif and Astute Graphics would actually translate to us or our wallets or to the future development direction of Affinity.
This is not the same thing as a general request for Serif to add a plug-in architecture to Affinity like those in other drawing programs, so as to turn it into a platform that encourages any third-party commercial developers who want to, to create add-on plug-ins bought separately by users who want them.
As mentioned earlier, I consider it folly to develop habituated dependency upon third-party plug-ins, especially for freelancers. That's why my 'user vote' for that would be no. I'd rather Serif focus on truly elegant innovation in 2D vector-based drawing.
On the other hand, I would very much favor Serif's developing a scripting object model to empower users to create (and share, if we wish) our own functionality using a non-proprietary scripting language like JavaScript—when the time is right for that. That's something I would definitely use. But that is an entirely other subject from the matter of Serif making a specific back-end agreement with a specific plug-in developer to license incorporating that developer's code into the standard feature set of the program, which we would all then be paying for, whether we want it or not.
And I agree with those who have opined that it is rather inappropriate for that developer to be using this Affinity user-feedback forum as a platform to foster demand for whatever that private business agreement between Serif and Astute Graphics might actually entail.
JET

I've made my living in graphics since 1972. In using graphics software ever since its advent in the mid-80s. Two things I've learned to avoid like the plague, and will not tolerate:
Mission-critical dependency upon rented software. It's all for the vendor. What business wouldn't want to have its customers' work effectively held hostage by a continual rental payments scheme? Mission-critical dependency upon third-party plug-ins. To my mind, this pie-in-the-sky software model failed long ago. Users should counter the preached 'merits' of rented software licenses by pushing its claims to their logical conclusion: Why shouldn't we demand to only pay rent based upon the actual time the software is used instead of by the calendar?
JET

Hello William,
You just need a smartphone (or someone else's smartphone) to scan the QRcode while it's displayed on another screen.

Hello William,
You just need a smartphone (or someone else's smartphone) to scan the QRcode while it's displayed on another screen.

As it seems, someone moved my posting here... although I am sure, that this is simply a bug.

Monster Selfy Version 2
This was for a new brush thumbnail 

(...)

I think you'll find, Alan, that the error is the space after the ":" in "mailto: Michael...". I'm not completely sure, as I have not managed to make an export fail while logging is enabled. But when it works (with logging enabled) there is no space after the ":".

Agreed. The isolate function in Designer is not the same at all and can only be used on a single object, not a group.
A simple Option+Click on the visibility icon like Adobe does it would solve this issue and save so much time clicking, especially with many layers.

This + it'd be great if we could collapse all layers, like in Sketch for example where you just hold option/alt before tapping the arrow next to the layer in order to collapse all the sub-layers and groups inside the parent layer.

I'd find this very useful. Also a 'collapse all groups'.

Unfortunately I'm not technically versed enough to provide reasoning or advantages here, I've simply been informed this is how the Affinity app calculates flood selections - my apologies!
I'll move this thread to the feedback section of the Forums for our devs to see and consider for you now

Hi @Dan C,
thank you for your answer, so I didn't overlook anything or use the tool incorrectly. - Do you have any idea what might have been the advantage from the point of view of the affinity developers of not taking the alpha values into account when selecting? Or is this topic perhaps worth a suggestion for improvement?

Wonderful concept, beautifully executed. Fantastic work!

New piece – Kazuko.
 I’ve always wanted to draw a “cyber geisha”, and my initial idea for this was much more anime inspired (set against a towering futuristic cityscape, drenched in neon, maybe in the rain?) However, whilst I was thrashing out my preliminary sketches, I couldn’t shake the feeling that it was all a bit clichéd, and had been done a million times before by far better artists than I.
Instead, I wanted it to be much less dramatic, and far more subtle. I liked the idea that you wouldn’t necessarily realise she was an android at first glance, and that it was only as you examined her more closely that the details would jump out at you: the seams on her arms, , the circuitry under her skin, the pixel pattern on her kimono, the robot prawn.
I’ve no idea whether my attempt at subtlety works or not – you’ll have to be the judge – but in any event, here she is. Hope you like her!

Agreed. Right now my workflow looks something like this:
Open scan of old line art in Affinity Photo Convert to Greyscale If resolution is < 800 then upres to 800ppi (and make any adjustments as necessary to clean up the image) Use levels to drop the background to white Save as JPEG Open JPEG in HyperDither Apply best possible dither, then save as JPEG (saves as RGB, no option for other color modes) Open JPEG in Affinity Photo Convert to Greyscale Switch to export persona Export as B&W PNG with 2 levels Place PNG in Affinity Publisher When exporting as press-ready PDF, ensure "downsample" is turned off This has been working fine, so long as the placed PNG only needs to be black. Fortunately, the current stuff I'm producing is black & white. But things get nasty when you have placed 1-bit images that you want different spot colors (as @DaKo showed in his example, above), or with transparency. Sure, you can set the layer mode to multiply if you want a background color to show through and make a fake duotone, but if you want to knock out the background color, you have to jump through more hoops.
The ideal workflow would be:
Open scan of old line art in Affinity Photo Convert to Greyscale If resolution is < 800 then upres to 800ppi (and make any adjustments as necessary to clean up the image) Use levels to drop the background to white Convert mode to 1-bit and select dithering algorithm Export 1-bit TIFF or PNG Place in Affinity Publisher, color as desired Export press-ready PDF

Why don't you just look at the Release Notes for the simple answer to your question?
I'm not sure why anyone was expecting 1-bit bitmap support from 1.10. It wasn't in any of the beta 1.10 builds, so it would have been quite surprising to see it in the final release.

I make some SVG clip art for openclipart.org. I create it in Affinity Designer and export it to SVG. I always have to make sure it is pure vector art because openclipart.org does not accept SVG files that contain bitmaps. I also have to make sure to convert all text to curves because there is no guarantee anyone who downloads it will have the same fonts I do. After I have exported everything, I open the SVG in my text editor and cut out everything I can to make the file as small as possible.
Most of it is just simple shapes, like this Cool Cellface thing:

At other times, it is just some text, like this little joke:

Affinity Designer is really good at designing clip art, though its SVG exports could be more optimized (luckily I am perfectly capable of optimizing them myself, but it takes extra effort).

Here is an Unsplash Image of Lincoln Cathedral given the gmic Affinty Hdr treatment.
Use the original image ...
Then use the G'MIC plugin and save different versions of the image, always beginning with the original image, using ...
Color - Autobalance
Artistic - Illustration Look
Black and White - Engraving,
Export each image separately. I recommend using PNG for lossless compression.
Then using HDR Merge, import all the separate images including the original and allow Affinity Photo to create the composite image. Use the Tone Map as detailed or dramatic.
Then adjust the image in the develop persona tweaking the Black Point +10, then tweak the vibrancy and saturation until you get the colour effect you desire. Then develop the image and save it to a format you prefer.
Voilà ... and you will get the illustrated effect as shown.

Here is my latest illustration created using the HDR Merge and GMIC plugin technique (autobalance, engraving).
https://drive.google.com/file/d/1Mrs-4a2fzrAdBsWS2oZVRoEmn3g26GZB/view?usp=sharing
You can see the full size version at the link above.

Thanks MEB, always glad to, and hoping to share another process video soon in case someone might find it useful. 
In the meantime, here's another two from the Tokyo Vampire Hotel series of studies. (yes, the are references to Tarantino, just in case  you were wondering)
Thank you for looking as always! 

😁Greetings guys I share a new job to do a while ago I hope you like it, I am working a lot more with affinity designer, if you want to comment or ask something you can do it, stay tuned!😁
GATO 1080x1080.mp4

Hi @Dead Bat Designsand Welcome to the Forums,
I'm only aware of the Halftone Layer effect method.  We don't have the same options as we don't have the ability to create 1-bit Bitmap as PS does.  There are a few requests, one being here so hopefully we will see an improvement to the halftone side of things in a future build  
 

A lot of discussions about this already, but no modifications yet in the Swatches panel or way to manage Spot colours
Etc.
This panel need a lot of improvement, and a lot of problems and  ideas were already written in the forum.