Michael Sheaver

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About Michael Sheaver

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  • Birthday 06/25/1961

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    michaelsheaver.com

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    Alexandria, VA, USA

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  1. Honestly, I am not worried about that at this point. In my mind, the first thing that I think I need to do is to remove every constraint from every object in the original 11x17 artboard. Then I can (hopefully) coax everything back to where they belong, and then it should be much less of a problem when I go to the 20x30 layout, which of course won't have the same proportions. So, my first question is: Is there an easy way to remove or reset the constraints on every element, or do I need to do it manually? Then my next and more general question should be, what are constraints intended for? My guess is that my paradigm of constraints has been tainted by my prior experience with other unnamed design tools, and that in the Affinity universe they have a completely different use. @Wikinger, I DO appreciate your reaching out to me on this, big time!
  2. I have been working on an educational poster, on and off over a few months time. Until now, I had kept it at one size (11" x 17"), and have it looking fairly nice in that size: After printing some test copies, it became clear that this was going to be way too small for what we are trying to do. So I tried to scale it up to 20" x 30", and it quickly got ugly fast: It does not matter if I try to scale the whole artboard up or create a new, larger artboard and paste everything into it, I get the same hideous results. I have been messing with this for a week now, trying different things like adding or removing constraints, and it seems like I am only digging myself into a deeper hole. In some cases, when I try to remove constraints, the objects jump clear off the artboard and/or resize themselves to crazy proportions. Every element in this poster is a vector element that I created myself, and there are no imported images. It is apparent that I am doing something wrong, and it probably has something to do with constraints. Can anyone offer suggestions on how I can get myself out of this pickle? I am willing to share the project file if need be.
  3. Ain't that the truth? And it's such a beautifully phonetic one, to boot! My favorite one is how the Brits pronounce "aluminum": al-lu-min-ee-um. The first time I heard that, it was on a Youtube video, and I was like, "What is that?" LOL
  4. A couple of good alternatives are PDF Element 6 Pro for Mac/Windows, or PDF Expert for Mac/iOS. They are both just as good as, if not better, than Acrobat.
  5. There is another EXCELLENT program that is right under your nose, and you missed it! It is called Fusion, and it is made by the same folks who develop DaVinci Resolve, Blackmagic Design. In fact, it is older and more mature than DaVinci Resolve, and quite honestly, its node-based architecture makes it MUCH easier, both to learn AND to use. It is simply amazing, and has a VERY active support community. around it. There is a TON of YouTube videos available for Fusion, as well as full-blown tutorial courses. I recommend this one to get your feet wet: http://tale2tell.com/fusion-tutorials/. Of course, you will need to un-learn some things, but once you get the concept. flexibility and power of nodes, everything else will fall into place for you rather quickly. It is also rather intuitive to use, but not as much as the Affinity family, though. As for InDesign, I have been using Affinity Designer very effectively, even for posters and multi-page spreads. It does most of what I used ID for previously, and it does it MUCH better. The only thing that I have missed is the ability to manage text flows for long documents. But if you are not dealing with long documents like books, but truly are using ID primarily for graphic design, then you really need to move to Designer, really! One of the many surprising things I learned after using the Affinity family of products, is how much I was being handicapped by the crappy design of the entire Adobe suite. Designer is so much more intuitive, responsive and a pure joy to use. It also makes for a quicker workflow, too!
  6. Did anyone else notice in that preview video, when they were moving an image block around the document, just how quickly, cleanly and smoothly the text flowed around it real time as it was moved? With this being in only alpha mode, I would say that is already an amazing feat! However, I will say that I am NOT surprised by this at all. The reason is that I have seen just how much attention the Affinity team pays to every little aspect of the UI and how it provides such intuitive feedback to the user. We have been spoiled in their impeccable design and performance of AD an AP for the Mac, and we have no reason to expect anything different in Publisher. I will even bet that the initial public release of Publisher will be way better than the initial releases of Photo and Designer, since they will use all of the lessons learned from those applications to guide and inform their design and engineering choices. The fact they keep pushing out the expected release date tells me that they truly are exercising an extreme level of discipline by not giving in to the pressures to release it before it's truly ready. And do you wanna know what the real irony is? If it were Adobe developing this software, the current alpha state, as we all saw it in operation, will already be good enough for them, and it would already be in general release. So kudos to the Affinity team for doing the right thing with all of their products! I am willing to wait patiently until they make it truly worthy of bearing the Affinity name, for I already know that the wait will have been worth it. Like I have shared here before, anything of exceptional quality always takes expert skill, patience, hard work, long hours and many years to produce. It is so refreshing to finally see companies like Serif that are dedicated to producing truly exceptional tools that not only work well, but they are pure joy to use!
  7. It is not readily apparent in the screenshot, but what is the color and/or opacity setting for the middle gradient stop? Is that one at 50% opacity and the same color as the third opaque stop? @JimmyJack and @owenr, the suggestions from both of you were just what I needed, and they combined to give me the overall effect I was trying to achieve. Now I have a much better grasp of what is going on, especially with the outline effect, and I have successfully used it on several test objects of complex shapes. Many thanks to the both of you!
  8. @JimmyJack Your third image is exactly what I was trying to get, and your method of drag-and-drop masking in the Layers panel was exactly what I was trying. Unfortunately, I had to drop this to work on a fun vectorizing project, but I will get back into this one over the weekend. I will look at the edges to see if I get the same results you did, and yes, the edges do look kind of sharp and abrupt on the screen, but we know the screen cannot always be trusted, huh?
  9. Using Designer 1.6, I have a rectangular shape with a non-uniform (gradient) fill and some text inside, represented by shape #1 above (without the text, of course). I would like to apply a transparency effect where the edges of the shape fade off into being completely transparent. In order to try and describe what I am trying to do here, I made shape #2. I want the inner edge of the black border to be completely opaque with whatever is directly under it, the outer edge be completely transparent, and a gradient transition fill in between. In shape #3, I tried to use the Outline layer effect, as shown here: ...and kind of got what I am trying to do, but not quite. Maybe I need to use a duplicate layer and use it to mask out the border of the original shape? I have a feeling I am really close with this, but missing some step somewhere.
  10. Oh my goodness, this is EXACTLY what I was needing! Kind of like virtual coaching, huh? I will try this tomorrow, and let you know how it comes out. I am serious, really, this is what I needed. I can already envision in my mind how each step will work, it is just amazing. And I haven't even begun the work yet. Again, many thanks!
  11. I have created this scene that contains lots of individual blades of grass, with the sun in the sky: If you look at the left half of the grass blades, I tried to apply an effect using gradient overlay, but it really does not look that great. I would like to have it look like the sunlight is being reflected off the right side of each of the blades in a somewhat realistic appearance. I know there are probably many different ways to achieve this in AD, but can you share a way that has worked well for you? Another question - is this the appropriate venue to ask questions like this?
  12. I figured as such, and it is kind of unfortunate that it needed to be done. It would have been nice to be able to have a gradient that could be "Global" and applied to multiple objects. Then down the road, if I want to change one or more of the colors in the gradient, that change would be applied to all of the objects at the same time. Realizing that global gradients are not an option, I tried another experiment by making a gradient composed of all global colors, then applying that gradient swatch to multiple objects. Then I tried changing some of the global colors to see if this would replicate across all of the object where the gradient had been applied. Alas, the colors lost their global-ness when applied as part of the gradient, and the edits to the global colors did not replicate. No big deal, it was kinda fun trying.
  13. ipad

    Great, and many thanks for this!
  14. UPDATE Version 1.6.0 appeared in the App Store this morning, so part of this post may no longer relevant. However, while trying to duplicate this scenario in 1.6.0, I discovered the following: Create gradient swatch from fill works as before Create global gradient swatch from fill does not appear to do anything, and I have looked in all the palettes (document, application, system) and the swatch is not there When I right-click on a gradient swatch in a palette, there is no longer an option to convert it to a global gradient
  15. I am using Designer 1.5.5 on macOS 10.13.1, and have encountered two different but related issues while working with global gradient swatches. The first is when I try to save a gradient fill as a global swatch, nothing seems to happen. I can create non-global swatches from the same fill, no problem. The second is when I try to convert a saved gradient swatch to a global gradient swatch, the program crashes. Both of these issues are captured in the attached video. Do let me know if you need any more info on this. Take care! Michael AD_Crash_Global_Gradient.mp4