lepr

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>>FIND OUT MORE HERE!<<
 

In addition to R C-R's advice, change brush opacity from 30% to 100% near the left end of the context toolbar.

The feature seems to be working 'by design', as Serif would say.
The auto-close threshold is a constant distance in screen space rather than document space, and so it becomes smaller in relation to the object's displayed size as the zoom increases. Notice that the red loop symbol is about the same length as the pencil pointer at the moment it first appears, regardless of zoom.
The 'harder to see' is simply the poor contrast of red on the black of the stroke. As you zoom in, the black becomes more expansive until the red loop is never being presented on white.

And change the layer opacity for the selected Pixel layer from 100% to 30% via the Opacity control at the top of the Layers panel.

Shift+drag the red point to separate the start and end widths. Remember to read the hints at the bottom of the window.
 

separate.mp4    

Just wanted to share a recent alternative movie poster I created for the film, Alita Battle Angel.
The poster is completely hand-drawn in Affinity Photo 2. As I've noted before, I enjoy the hand-drawn and coloured posters by the likes of Drew Struzan and contemporary artists like Paul Shipper and Kyle Lambert.
This work was completed primarily using the Natural Pencil 2B brush (the underlying sketch) and the Round Soft Brush (colouring over and clouds) with more Natural Pencil 2B coloured pencil over the top for the highlights and detail. There is some use of texture brushes such as spatters and custom dust etc. There are no fancy filters or tricks used. I treat the canvas and drawing as though I were working with real physical media and so start with a scanned 'paper' background. I use an XP Pen pen display connected to my MacBook Pro as my workstation.

👍
 

Shift+drag the red point to separate the start and end widths. Remember to read the hints at the bottom of the window.
 

separate.mp4    

Shift+drag the red point to separate the start and end widths. Remember to read the hints at the bottom of the window.
 

separate.mp4    

width.mp4    

width.mp4    

You seem to be missing the modifier key hints at the bottom of the window.
On a Mac, ctrl-drag the Transform Origin to use it as a handle. That functionality has been in the apps for about 5 years.

You seem to be missing the modifier key hints at the bottom of the window.
On a Mac, ctrl-drag the Transform Origin to use it as a handle. That functionality has been in the apps for about 5 years.

Make your own digital mosaics and fauxsaics in Affinity Designer!

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After a trip to Sicily, where I saw some stunning ancient Roman mosaics, it occurred to me that there was no tool which allowed Affinity Designer users to draw their own mosaic designs. So, I set about making this complete mosaic tile tool kit – it contains everything you need to create your own realistic looking fauxsaics.
In this pack I’ve captured the irregular, chipped edges of the original Roman source material (c. 4th century AD) allowing you to create stunning designs and illustrations with a sense of antiquity. However, the pack isn’t just for adding a vintage look – as you’ll see from the screen-shots you can use the Affinity Designer brushes, patterns and textures to bring a unique twist to contemporary designs too.
To test the pack I studied real mosaics and put the Affinity brushes through their paces by re-creating a real Roman design – the bear image screen-shot.










>>GET THE PACK HERE<<
 
The pack contains all of these fantastic components:
The Brushes A variety of mosaic tile Affinity Designer vector brushes, all sourced from genuine 1600+ year old material. A grout brush is also included – perfect for adding a rough, undulating edges to vector shapes.
The Pattern Styles 6 authentic mosaic repeat patterns – perfect for backgrounds or for flooding areas with tiles quickly. Supplied as One-click Affinity Designer styles.
The Border Brushes Add authentic looking borders to your mosaics. 6 Different designs supplied, each made using multiple vector brushes – simply layer them up.
The Seamless Overlay Textures 2 Stone textures and 2 grunge overlay textures – use these to flood areas quickly and add age and authenticity to your designs. The featured Affinity Designer textures are seamless, so you can fill any sized area. Supplied as One-click Affinity styles.
A quick reference PDF guide This will help you quickly find the right brushes and styles for the task in hand and get the most out of this brush, pattern and texture pack.
Example file The Skull image has been supplied for you to backwards engineer. Supplied as an Affinity Designer file.
Instructions A very thorough guide on how to load, apply and then adjust this brush, style and texture tool kit is included.
>>GET THE PACK HERE<<
 

Missing name on ipad. Hope you can fix it.
Overall its the same bugged pressure tool with better UI. Still numerours artifacts with no fixes for years. The tool is needed, but its current state is tooooo raw to work with.

@lepr oops I missed your video, thanks for the reply. @Pšenda's was posted later. I also just now saw that @MEB posted one. Thanks for the deluge of help everyone!

Note that my somehow unhelpful video showed exactly the same technique but done with Move Tool which is available in all Affinity apps.

@Return why did my video make you sad?

There is a way with the Move Tool. An object's Transform Origin can be used as a handle. Snap it to the object's path and then use it as a handle for dragging the object until it snaps to another object's path.

snapping.mp4    

The feature seems to be working 'by design', as Serif would say.
The auto-close threshold is a constant distance in screen space rather than document space, and so it becomes smaller in relation to the object's displayed size as the zoom increases. Notice that the red loop symbol is about the same length as the pencil pointer at the moment it first appears, regardless of zoom.
The 'harder to see' is simply the poor contrast of red on the black of the stroke. As you zoom in, the black becomes more expansive until the red loop is never being presented on white.

Yes, I should have added that. PTT is actually one of my favourite tools in Affinity.

There is a way with the Move Tool. An object's Transform Origin can be used as a handle. Snap it to the object's path and then use it as a handle for dragging the object until it snaps to another object's path.

snapping.mp4    

Serif is working on a modern version of Fonthill Abbey, but if they don't seriously slow down and correct mistakes, architecture, and refactor a lot, I now truly understand how big the problem is after trying the line width tool in the beta of 2.5.
https://en.wikipedia.org/wiki/Fonthill_Abbey

This has been a general issue with the pressure feature since it was introduced in v1. 
In that sense, the new Line Width tool is apparently "only" a different front end to what's been there for a long time and only editable via the Pressure curve until now. But at least it's more convenient.
(Considering this, I can't say that I'm overwhelmed either… )

Apps: Designer
Platforms: macOS, Windows and iPad
We have made some further improvements to the pencil tool.
Firstly we are now using a new curve smoothing algorithm which we believe gives general better, smoother, results when using the pencil tool.
Secondly as has been commonly requested we have now changed the "Auto-close" method so that when you have that option checked in the context toolbar the curve only closes when you are near to the start point of the curve being drawn. You will now get an indicator when you are in range of the start position of the curve so you know when a curve will be auto-closed.