LionelD

Apps: Photo and Designer
Platforms: All
In Export Persona Filename is now available as a token variable for building either folder paths or exported filenames of your slices. This is available with two options:
Document Name = the name of the document without the file extension
Document Filename = the name of the document including the file extension
For example if you had a document called "Social Ads.afdesign" which contained artboards named "Version 1", "Version 2", etc.  you could now specify your path to be Document name like below:

And this will automatically create a folder called "Social Ads" with your slices being exported within it:
Social Ads/Version 1.png
Social Ads/Version 2.png
etc.
You can also use these tokens as part of your exported file names, e.g. if you set up as below...

 
That would result in your exported files being named:
Social Ads (Version 1).png
Social Ads (Version 2).png
etc.

Additional note

Worth a reminder when testing these feature you can copy and paste export set ups from one slice to another slice using the copy / paste buttons towards the top of the panel. You can also create your own export set up presets from the burger menu in the slices panel.

Ok, so MBP is MacBook Pro and AirDrop is an Apple feature that allows you to transfer files between Apple machines wirelessly (I think it’s magic).  AirDrop is a relatively new feature, so might not be available on your Apple Mac.  I’m sure you’ll find it on any new MacBook Air, but doubt your Mac will offer it.
I find that the hardware products today are quite miraculously long-lived.  I have an iPod Classic that still works (when I try to use it, which is not often).
For me there are a few things that detract from older equipment: none of the newer features (especially security features), and declining ability to run the increasingly demanding applications of today.  Performance is usually what pushes me to update.
Regards

Hi, I am running the V2 apps on a 2019 11” iPad Pro with the latest iPadOS.  I upgraded the V1 apps to V2 when V2 was published.
I do not have problems moving files between my iPad and my old MBP right now, but at one point I did have trouble moving files with AirDrop.  Turns out that was an AirDrop problem which has since been corrected, no hint of trouble at the moment.  I don’t remember exactly when this happened; the problem was easily repeated, and Apple accepted my offer to help define the problem.  They were very responsive and helpful.
I’d guess that if your iPad is running a recent update you won’t have the AirDrop problem.  I can track down an approximate date if you need it; let me know.
Regards
 

HI, I found this whilst looking for something else....
@AnnieW, thanks, this was illuminating.  I tried your strategy of using 3 copies of the source and setting the Head and Tail Offsets accordingly.  That made a dramatic difference for a brush that has been torturing me.
But there seems to be another factor at play here (might just be my weird brush).  I've attached a file with the brush source, and two test strokes.
With Align set to centre the stroke on the underlying vector curve, the stroke is visible with no distortion my eyes can see (Screenshot Screen Shot 2020-06-29 at 3.17.25 PM).  However, both of the other settings for Align are problematic (Screenshots Screen Shot 2020-06-29 at 3.30.55 PM and Screen Shot 2020-06-29 at 3.31.09 PM).  Aligning to the inside of the circle makes the stroke invisible, aligning to the outside distorts the source quite badly (I know it has to get bent, but the result appears mangled in an inexplicable way).
I get the same results on iPad and MacBook; both devices are running the most current OS (Catalina 10.15.5, iPadOS 13.5.1) and Affinity Designer 1.8.3
@Sean P, please let me know if you need more information.
Regards
 





Serrated Edges.afdesign

This technique relies on the power of Symbols to produce a good result with less effort than many other techniques I’ve encountered.
First, I need to establish some terminology.  Patterns generally have decorative elements displayed against a background.  Decorative elements are commonly called “Motifs”.  I refer to the background as “Fill”, but that’s probably not the term that professional surface pattern designers use.
A motif can be as simple as a single straight line, and a Fill can be as simple as a block of solid color.
Patterns are first and foremost about geometry, but that will be a very small part of this article.  To keep things simple, I am going to rely on a simple square in a Brick layout.
This technique requires a high degree of precision, but there’s no need to calculate where to place any element in your pattern.
You need two art boards:  a “small” art board where you will do most of the work of assembling your pattern, and a “large” art board where you see your assembled tiled pattern.  The large art board is where you extract the repeating tile which gets constructed indirectly.  I customarily use art boards dimensioned 9,000px X 9,000px; you can use any units you’re comfortable with - at least until you get to the export persona which has some complications. I’m going to stick to pixels because that simplifies things a bit. Make a new document with two art boards, each 9,000px X 9,000px. Left art board is “Design”, right art board is “Tiled Pattern” On Design art board:  We are going to construct a symbol for our motifs.  Make a square 4,000px X 4,000px, 1pt stroke (black), no fill, name the layer “Motif”; for now, we want this layer visible.  With Motif selected (in Layers), turn it into a symbol using the Symbols panel.  For convenience, position your Motif symbol in the centre of the Design art board (use Transform for this). On Tiled Pattern art board:  Add one instance of Motif symbol to Tiled Pattern, transform it so it’s top left corner is in the top left corner of the art board.  At this stage it should still be 4,000px X 4,000px; change it to 3,000px X 3,000px using Transform, without changing it’s position on the art board. Duplicate Motif twice, arrange the 3 instances in a row so the motifs align corner to corner, giving you a row of 3 Motifs along the top edge of the art board. Duplicate that row twice, and arrange those copies below the first, edge to edge.  You should now have 9 Motifs arranged in 3 rows, 3 columns. These two steps require high precision to ensure that each row is straight, each column is straight, and each Motif square meets its neighbours exactly at their corners. Any misalignment will plague you relentlessly. And we’re done with almost all the calculations. Back on Design art board, in the Layers panel, open your Motif symbol so you can see its two layers.  ALL your design elements (motifs) must be placed between these two layers; they can (and should) project beyond the edges of the square as required to fulfill your artistic vision. Start by adding motifs one at a time (grab one from the Zoo), and watch your patten assemble itself on the other art board.  Reposition elements as required, and watch the other art board update accordingly. To better understand the power of symbols used this way, you should add one motif (small square, circle or similar), and slowly move it into a corner of your Motif symbol, and you’ll see it appear on the opposing edges, all with no calculations to get it there. Any motif that projects beyond the square that is the foundation of the Motif symbol automatically projects into the neighbor/s exactly as required.  If you have been doing this by manually creating and positioning the counterpart motif where it should project into the opposite side of the foundation square, this technique obviates the need to do so.  Especially in the corners, where it can be very painful. If you place your motifs inside the foundation square, that square will truncate them, and you’ll be back to creating and positioning counterparts manually.  But you should try it. When your pattern is complete, it’s time to make that repeating tile.  We are going to extract it from the Tiled Pattern art board using the Export Persona. Tap the Tiled Pattern art board so it’s active, switch to the Export Persona, and use the Slice tool to create a slice that aligns exactly with the middle Motif symbol on that art board - same size (3,000px X 3,000px), centered at 4,500px and 4,500px. Give this slice an appropriate name, and export it - just remember to make the foundation square in Motif invisible - otherwise it is going to show up on your tile, and you probably don’t want that. Test your tile in a new document by use the gradient tool to make a fill with your tile as a bitmap image. You can edit your pattern iteratively by adding, repositioning and/or resizing motif elements as required, just be sure to re-export your tile after pattern changes.  Make sure your Motif symbols do NOT MOVE, accidentally or on purpose. Some Notes
The slice for the repeating tile will be too small if you have motifs that are much larger than the slice.  Resize the slice by doubling its dimensions. The Design art board does not provide a background for your motifs.  A simple way to create one is to add a square as the last layer on the Tiled Pattern art board, the same size as that art board, and add a fill to your taste.  This fill is an integral part of your pattern, so choose appropriately.  The attached file has a background as described. The Export Persona has a personality all it’s own, and it can be quite cranky.  First of all, there’s no easy way to choose a unit of measure for your slice other than pixels.  You can select a different unit when you enter a dimension, but Export converts it to pixels expertly in the blink of an eye. More about Symbols
Different instances of same symbol can have their own sizes, orientations and positions, must contain same set of layers. Symbols do not have their own shape or size; they derive those properties as the sum of what they contain.  Even though I based my symbols on a square, the symbol’s content can (and does) project beyond the borders of the square.  And that’s exactly what you want because that’s what obviates all need to calculate positions for motifs that project beyond the nominal boundaries of the tile you are trying to create.  For my sanity, I usually have a dummy layer that signals the bottom of the layer stack in the symbol.  For patterns, using a shape like a square enables geometrically correct placement of the symbols on Tiled Pattern; you can make this shape visible or not as appropriate while you edit your pattern.  Do not place your motifs inside the base shape of the symbol; if you do that, your motif will be truncated at the boundary, and you will have to add another copy of the motif and put it in the correct position, and you’ll have all your old alignment problems back.  
Repeating Patterns V2.afdesign

Fantastic new approach! Thank you so much for sharing!

This technique relies on the power of Symbols to produce a good result with less effort than many other techniques I’ve encountered.
First, I need to establish some terminology.  Patterns generally have decorative elements displayed against a background.  Decorative elements are commonly called “Motifs”.  I refer to the background as “Fill”, but that’s probably not the term that professional surface pattern designers use.
A motif can be as simple as a single straight line, and a Fill can be as simple as a block of solid color.
Patterns are first and foremost about geometry, but that will be a very small part of this article.  To keep things simple, I am going to rely on a simple square in a Brick layout.
This technique requires a high degree of precision, but there’s no need to calculate where to place any element in your pattern.
You need two art boards:  a “small” art board where you will do most of the work of assembling your pattern, and a “large” art board where you see your assembled tiled pattern.  The large art board is where you extract the repeating tile which gets constructed indirectly.  I customarily use art boards dimensioned 9,000px X 9,000px; you can use any units you’re comfortable with - at least until you get to the export persona which has some complications. I’m going to stick to pixels because that simplifies things a bit. Make a new document with two art boards, each 9,000px X 9,000px. Left art board is “Design”, right art board is “Tiled Pattern” On Design art board:  We are going to construct a symbol for our motifs.  Make a square 4,000px X 4,000px, 1pt stroke (black), no fill, name the layer “Motif”; for now, we want this layer visible.  With Motif selected (in Layers), turn it into a symbol using the Symbols panel.  For convenience, position your Motif symbol in the centre of the Design art board (use Transform for this). On Tiled Pattern art board:  Add one instance of Motif symbol to Tiled Pattern, transform it so it’s top left corner is in the top left corner of the art board.  At this stage it should still be 4,000px X 4,000px; change it to 3,000px X 3,000px using Transform, without changing it’s position on the art board. Duplicate Motif twice, arrange the 3 instances in a row so the motifs align corner to corner, giving you a row of 3 Motifs along the top edge of the art board. Duplicate that row twice, and arrange those copies below the first, edge to edge.  You should now have 9 Motifs arranged in 3 rows, 3 columns. These two steps require high precision to ensure that each row is straight, each column is straight, and each Motif square meets its neighbours exactly at their corners. Any misalignment will plague you relentlessly. And we’re done with almost all the calculations. Back on Design art board, in the Layers panel, open your Motif symbol so you can see its two layers.  ALL your design elements (motifs) must be placed between these two layers; they can (and should) project beyond the edges of the square as required to fulfill your artistic vision. Start by adding motifs one at a time (grab one from the Zoo), and watch your patten assemble itself on the other art board.  Reposition elements as required, and watch the other art board update accordingly. To better understand the power of symbols used this way, you should add one motif (small square, circle or similar), and slowly move it into a corner of your Motif symbol, and you’ll see it appear on the opposing edges, all with no calculations to get it there. Any motif that projects beyond the square that is the foundation of the Motif symbol automatically projects into the neighbor/s exactly as required.  If you have been doing this by manually creating and positioning the counterpart motif where it should project into the opposite side of the foundation square, this technique obviates the need to do so.  Especially in the corners, where it can be very painful. If you place your motifs inside the foundation square, that square will truncate them, and you’ll be back to creating and positioning counterparts manually.  But you should try it. When your pattern is complete, it’s time to make that repeating tile.  We are going to extract it from the Tiled Pattern art board using the Export Persona. Tap the Tiled Pattern art board so it’s active, switch to the Export Persona, and use the Slice tool to create a slice that aligns exactly with the middle Motif symbol on that art board - same size (3,000px X 3,000px), centered at 4,500px and 4,500px. Give this slice an appropriate name, and export it - just remember to make the foundation square in Motif invisible - otherwise it is going to show up on your tile, and you probably don’t want that. Test your tile in a new document by use the gradient tool to make a fill with your tile as a bitmap image. You can edit your pattern iteratively by adding, repositioning and/or resizing motif elements as required, just be sure to re-export your tile after pattern changes.  Make sure your Motif symbols do NOT MOVE, accidentally or on purpose. Some Notes
The slice for the repeating tile will be too small if you have motifs that are much larger than the slice.  Resize the slice by doubling its dimensions. The Design art board does not provide a background for your motifs.  A simple way to create one is to add a square as the last layer on the Tiled Pattern art board, the same size as that art board, and add a fill to your taste.  This fill is an integral part of your pattern, so choose appropriately.  The attached file has a background as described. The Export Persona has a personality all it’s own, and it can be quite cranky.  First of all, there’s no easy way to choose a unit of measure for your slice other than pixels.  You can select a different unit when you enter a dimension, but Export converts it to pixels expertly in the blink of an eye. More about Symbols
Different instances of same symbol can have their own sizes, orientations and positions, must contain same set of layers. Symbols do not have their own shape or size; they derive those properties as the sum of what they contain.  Even though I based my symbols on a square, the symbol’s content can (and does) project beyond the borders of the square.  And that’s exactly what you want because that’s what obviates all need to calculate positions for motifs that project beyond the nominal boundaries of the tile you are trying to create.  For my sanity, I usually have a dummy layer that signals the bottom of the layer stack in the symbol.  For patterns, using a shape like a square enables geometrically correct placement of the symbols on Tiled Pattern; you can make this shape visible or not as appropriate while you edit your pattern.  Do not place your motifs inside the base shape of the symbol; if you do that, your motif will be truncated at the boundary, and you will have to add another copy of the motif and put it in the correct position, and you’ll have all your old alignment problems back.  
Repeating Patterns V2.afdesign

@Dan C Well, thanks for the response.  I’m on the lookout for this happening again, but I remember it happening intermittently.  I’ll check back through recent files and will definitely update when/if I find something that’s repeatable.
Regards

Yes, I would also like that, please.

This is so necessary for keeping objects in register for things such as animation.

@walt.farrell You’re right, it’s confusing, and I wondered about the point you raise.  In my opinion the errant behavior is on the MBP, and I think the real clue lies in the fact the behavior differs in these two environments.
I hope a moderator or someone else who knows more than I do will send it in the right direction.
Regards

Thanks, that’s a lot of palettes and a lot of work!
Regards

Thanks.

I also use Symbols very intensively, and my Symbols Studio becomes a disorganized mess quickly.
But I’m here to ask if you have tried organizing your symbols in the Assets Panel?
I’m about to experiment with it, and my first challenge is figuring out a good set of categories and subcategories.  A word of caution: multiple insertions of the same symbol from Assets into the same document seems to place them into some form of detachment.  You get a more intuitive result by inserting exactly once, then duplicating within the document.
Regards

Ok, I see this thread was started a long time ago, but there are some fairly recent comments, so I’ll join in.
What I would like the most is industry-standard metadata (EXIF, IPTC, etc) in ALL my Affinity files (Designer, Photo and Publisher), with the metadata accessible to a third-party DAM, and the ability to enter/edit in much the same way as Bridge (or even better LR).  I have a lot of files - many thousands, many of those are .PSB larger than 8GB - and I doubt I could manage my files without extensive metadata and search capabilities.
I currently use Bridge which is part of an Adobe Photo subscription, despite the fact it cannot process Affinity files. I frequently process batches of RAW files that need identical (or very similar) edits, and Bridge with ACR does that well.  I don’t like subscriptions, but I haven’t found an alternative to Bridge yet.
My Photo subscription includes Lightroom Classic, and I found that attractive primarily because it allows you to accumulate multiple edits in the catalog, which you can export to the associated files in a single write operation.  I almost never do image edits in LR because it lacks Photoshop capabilities that I need for large files (that may have changed).
My biggest annoyances with Bridge are
It seems to try to apply edits almost immediately they’re entered, so multiple edits to a single file usually leads to multiple writes to the same file, which is very time-consuming for large files. It can’t really manage my growing collection of Affinity files (I compensate by creating exports to carry the metadata). I would very seriously consider switching to a capable DAM with full support for industry-standard metadata and file formats, especially if sold under terms similar to what Affinity currently offers (full offline functionality, no data exfiltration, no subscription).  Periodic paid upgrades are fine - the folk making these tools should be paid for their efforts.  An approach that uses text sidecar files, like .XMP files, might be a good solution.
I am very unlikely to use a web-based solution.
Regards
Lionel

I posted this a while back, thought you might find it helpful.  @tantababy and @TrentL added contributions of their own.  Don’t be discouraged, Symbols are far and away the best way to make repeating patterns in AD, in spite of the learning curve.
Regards
 

Hi Trent,
Nice video and yes that is a quick and easy way to make a seamless pattern.  Problem I can see is that that method will only work for full drop patterns, if you want to do something else like diamond, scallops, ogee, half drop or brick it won't work.  Using symbols as I described above also allows you to rotate, resize or flip your elements as the action will be done exactly the same way in the other symbols and there is no need to duplicate any elements. I tend to draw my own elements/assets and using the symbols method means it happens live around the whole design so I can alter, change and move anything as I go. 
I guess it all depends on what your end goal is as to which method you prefer. 

Good point! – The term "Original" Artboard can be misleading as soon any later artboard gets an according position left OR above this initial artboard: It gets more complex if the leftmost artboard is NOT the topmost artboard, then two of two artboards can have one perfect zero and one imperfect decimal position value, for instance:

@Pšenda, @Alfred thanks, off to do some reading.
Regards
Lionel

@Pšenda Well, that’s probably the most informative thing anyone has said to me the whole year - thanks.  I did not know that.  Amazing where we hide life’s little mysteries.
Have fun in Prague - I think it’s one of the most impressive cities in the world.
Regards

Just for information - the position of the Artboards is defined by the position of the "Origin" Artboard - i.e. the leftmost and topmost one, which is always at position 0, 0. Very easily (by moving or adding new artboard before/above this Origin artboard) you can mess up the right one (Pixel perfect) positions of the other artboards, or you can correct them on the contrary - by correcting the position of the Origin artboards by the necessary offset, the positions of the others will also be aligned, so they do not have to be corrected one by one.

This technique relies on the power of Symbols to produce a good result with less effort than many other techniques I’ve encountered.
First, I need to establish some terminology.  Patterns generally have decorative elements displayed against a background.  Decorative elements are commonly called “Motifs”.  I refer to the background as “Fill”, but that’s probably not the term that professional surface pattern designers use.
A motif can be as simple as a single straight line, and a Fill can be as simple as a block of solid color.
Patterns are first and foremost about geometry, but that will be a very small part of this article.  To keep things simple, I am going to rely on a simple square in a Brick layout.
This technique requires a high degree of precision, but there’s no need to calculate where to place any element in your pattern.
You need two art boards:  a “small” art board where you will do most of the work of assembling your pattern, and a “large” art board where you see your assembled tiled pattern.  The large art board is where you extract the repeating tile which gets constructed indirectly.  I customarily use art boards dimensioned 9,000px X 9,000px; you can use any units you’re comfortable with - at least until you get to the export persona which has some complications. I’m going to stick to pixels because that simplifies things a bit. Make a new document with two art boards, each 9,000px X 9,000px. Left art board is “Design”, right art board is “Tiled Pattern” On Design art board:  We are going to construct a symbol for our motifs.  Make a square 4,000px X 4,000px, 1pt stroke (black), no fill, name the layer “Motif”; for now, we want this layer visible.  With Motif selected (in Layers), turn it into a symbol using the Symbols panel.  For convenience, position your Motif symbol in the centre of the Design art board (use Transform for this). On Tiled Pattern art board:  Add one instance of Motif symbol to Tiled Pattern, transform it so it’s top left corner is in the top left corner of the art board.  At this stage it should still be 4,000px X 4,000px; change it to 3,000px X 3,000px using Transform, without changing it’s position on the art board. Duplicate Motif twice, arrange the 3 instances in a row so the motifs align corner to corner, giving you a row of 3 Motifs along the top edge of the art board. Duplicate that row twice, and arrange those copies below the first, edge to edge.  You should now have 9 Motifs arranged in 3 rows, 3 columns. These two steps require high precision to ensure that each row is straight, each column is straight, and each Motif square meets its neighbours exactly at their corners. Any misalignment will plague you relentlessly. And we’re done with almost all the calculations. Back on Design art board, in the Layers panel, open your Motif symbol so you can see its two layers.  ALL your design elements (motifs) must be placed between these two layers; they can (and should) project beyond the edges of the square as required to fulfill your artistic vision. Start by adding motifs one at a time (grab one from the Zoo), and watch your patten assemble itself on the other art board.  Reposition elements as required, and watch the other art board update accordingly. To better understand the power of symbols used this way, you should add one motif (small square, circle or similar), and slowly move it into a corner of your Motif symbol, and you’ll see it appear on the opposing edges, all with no calculations to get it there. Any motif that projects beyond the square that is the foundation of the Motif symbol automatically projects into the neighbor/s exactly as required.  If you have been doing this by manually creating and positioning the counterpart motif where it should project into the opposite side of the foundation square, this technique obviates the need to do so.  Especially in the corners, where it can be very painful. If you place your motifs inside the foundation square, that square will truncate them, and you’ll be back to creating and positioning counterparts manually.  But you should try it. When your pattern is complete, it’s time to make that repeating tile.  We are going to extract it from the Tiled Pattern art board using the Export Persona. Tap the Tiled Pattern art board so it’s active, switch to the Export Persona, and use the Slice tool to create a slice that aligns exactly with the middle Motif symbol on that art board - same size (3,000px X 3,000px), centered at 4,500px and 4,500px. Give this slice an appropriate name, and export it - just remember to make the foundation square in Motif invisible - otherwise it is going to show up on your tile, and you probably don’t want that. Test your tile in a new document by use the gradient tool to make a fill with your tile as a bitmap image. You can edit your pattern iteratively by adding, repositioning and/or resizing motif elements as required, just be sure to re-export your tile after pattern changes.  Make sure your Motif symbols do NOT MOVE, accidentally or on purpose. Some Notes
The slice for the repeating tile will be too small if you have motifs that are much larger than the slice.  Resize the slice by doubling its dimensions. The Design art board does not provide a background for your motifs.  A simple way to create one is to add a square as the last layer on the Tiled Pattern art board, the same size as that art board, and add a fill to your taste.  This fill is an integral part of your pattern, so choose appropriately.  The attached file has a background as described. The Export Persona has a personality all it’s own, and it can be quite cranky.  First of all, there’s no easy way to choose a unit of measure for your slice other than pixels.  You can select a different unit when you enter a dimension, but Export converts it to pixels expertly in the blink of an eye. More about Symbols
Different instances of same symbol can have their own sizes, orientations and positions, must contain same set of layers. Symbols do not have their own shape or size; they derive those properties as the sum of what they contain.  Even though I based my symbols on a square, the symbol’s content can (and does) project beyond the borders of the square.  And that’s exactly what you want because that’s what obviates all need to calculate positions for motifs that project beyond the nominal boundaries of the tile you are trying to create.  For my sanity, I usually have a dummy layer that signals the bottom of the layer stack in the symbol.  For patterns, using a shape like a square enables geometrically correct placement of the symbols on Tiled Pattern; you can make this shape visible or not as appropriate while you edit your pattern.  Do not place your motifs inside the base shape of the symbol; if you do that, your motif will be truncated at the boundary, and you will have to add another copy of the motif and put it in the correct position, and you’ll have all your old alignment problems back.  
Repeating Patterns V2.afdesign

I watched and researched numerous ways of pattern designs to try and make seamless patterns effortless and after watching some Skillshare classes where they used Illustrator to make patterns I noticed that when they were using the Pattern tool they had elements that were off the canvas it clicked that that was what we needed to do in Affinity. The key is using a canvas of the size you want your pattern to be but DO NOT use an artboard. Doing this means you can use the clip to canvas function which allows you to see your assets that aren't on the canvas, just like in Illustrator. It is so simple and was there in plain sight the whole time. I create a symbol just as you would when using the artboard and Live preview (or pattern tile as above) method but instead of adding the extra symbols to the live preview (on another artboard - the old way) I duplicate them around the edges of the canvas (this can be done to create full or half drop patterns in the same way as the old live preview way). I then just add assets or draw as you would to the original symbol, the beauty is they will appear in every symbol and won't be cut off like they are when clipped to artboards. Using the preview button at the top right to 'clip to canvas' shows you only the main pattern tile, any asset that goes over one symbol in to the next will be shown within the tile, click the preview button again and you will see all your symbols and how your pattern will look. Export the canvas as png/jpeg as you would normally for use in POD etc. I have created myself templates for full drops, half drops, scallops, ogee, brick, diamond patterns (both reflected and unreflected) in this manner. Best of all I never need to duplicate and transform assets.
Affinity pattern.mp4

Thanks for your response.  That is an interesting variation on the approach I described.  And I agree, the best thing is that you never need to duplicate a motif on the opposite side of the tile, or calculate the coordinates.  It’s also much faster.
Regards and Good Luck to you.

@Paul Mudditt Well, thank you very much.
Regards
Lionel