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Kuttyjoe

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  1. I don't think so. I would have to guess that the reason that these things didn't make it into Affinity Designer was because the quality of those features was so poor that they didn't want to use them until they were made better. I can tell you for sure that the true vector brushes in DrawPlus were quite buggy. All of the brushes had some particular problems. Drawing slowly would create a line with a zillion jaggy anchor points. Movements such as "sketching" quickly, is almost certain to cause a serious glitch with a brush stroke which will freeze the whole program. And the true vector brush in particular had an additional problem where if you created a simple line, then zoomed in or out to some random level, the stroke would visually appear as if it's filled with a color. For example, if you drew a half circle, just the brush stroke, no fill, then zoom in/out, suddenly, you'd be seeing a fill in that shape. So these were very terrible quality tools. Additionally, DrawPlus had a very terrible vector tracing feature. None of the controls yielded any kind of predictable or repeatable result where as in something like Illustrator, you can pretty much get a good result with no tweaking at all sometimes. And lastly, the envelope warp tool was also just not good enough. For example, you can't constrain the movement of points directly vertical or horizontal therefore you can't really make a perfectly symmetrical envelope. I was really inadequate. I'm very familiar with these things because I actually still use DrawPlus all the time because even though those things are woefully broken or inadequate, there are still some redeeming quality about that program. The brush system is still better than that in Affinity Designer.
  2. The funny thing is, I was begging Adobe to implement the level of image based brushes that were in Serif DrawPlus. Adobe implemented a very basic level of image brushes a few years back that is practically unusable and they've never revisited it. I keep DrawPlus around just for the image brushes. Both image and true vector brushes have advantages, but one big disadvantage of the true vector brush is that they can be so complicated that they are too slow to use. If I convert one of those to an image based brush for use in DrawPlus, it is able to work smoothly. Affinity Designer of course also has a lot of catching up to do to match the brushes in DrawPlus but that's not even on a roadmap so I don't expect that to happen. For now, the best image brush game in town is sadly in two discontinued programs! DrawPlus and Microsoft's Expression Design.
  3. For me, they both take the same amount of time. If you're using keyboard shortcuts all the time, then your free hand is always at the ready. Pressing the X on the keyboard to switch fill/Stroke takes no time, unless you're having to look down at the keyboard over and over to find the X key and press it. That's not the case for me. My free hand is always in position so I can do it instantly. This one is not an issue for me. Either way is good.
  4. Yep, even for $500.00, you don't necessarily get what might seems like such a necessary feature. People have been wishing Corel would add it, and making macros for decades. Corel still hasn't implemented. Meanwhile they're doing all sorts of other things, including creating the entirely new Mac version of Coreldraw. That feature is never going to come to Coreldraw. There's no reason to think that it will after all this time. The same is true with Affinity Designer. People begged for it in the days of DrawPlus, then continued begging for it in Affinity Designer. Anything is possible, but there's no reason to think that it's ever going to happen. Or maybe, you'll be retired before it happens. I've used that feature for decades and I've never felt that it was meager. People are begging Serif for it for 10 years. People were begging Corel for it for much longer. I don't know or care how long it takes to create the feature. I just know how useful it is, and that it's not meager in Illustrator. We may all hate the subscription model but we all must still be thankful that Adobe exists since they're the only company offering the features that everybody else is begging for! So what happens if Adobe goes away? Many people will go from getting their work done with expensive tools, to not being able to get it done at all because there are no other tools that can do the work.
  5. I agree with you on this. Muscle memory depends on consistency and muscle memory is what allows us to work smoothly and quickly. Inconsistency causes a lot of wrong first attempts, then corrections which is distracting, aggravating, and probably a little bit wasteful of time.
  6. Coreldraw also doesn't have it. It has a Find and replace that is extremely complex and time consuming to use. There are a couple 3rd party macros that attempt to plug this gaping hole but they're never as elegant as a built-in solution.
  7. I can't really say, but people have been pleading for Select Similar/Select Same in Coreldraw for much, much longer than in in Serif software and Corel still hasn't implemented it. In the meantime, there are a couple of 3rd party macros that do it in Coreldraw. They're of course not as good as a built in solution, but they work. If it can be done by a 3rd party, then it certainly would seem that Corel could manage the same, even better. They're just choosing not to do it. Auto trace is currently in Serif's old discontinued software although, it was very poor quality. Sometimes though, you could get a good result with it. Mostly it works well for me when I created an image in DrawPlus such as using the brush tools, then rasterize it and vectorize it. Imported images tended to turn out terribly. But in this case, Serif is not having to use anyone else's solution. They could just improve their own existing solution. It's their choice though to do it or not. The smoothing tools are already there and they are honestly very well implemented. I still use DrawPlus because those old tools are more useful to me than the new stuff they added to Affinity Designer. DrawPlus also has a true vector eraser, which people have been asking for in AD.
  8. Kuttyjoe

    Halftone Support?

    I haven't seen a vector program that does that but there's an Illustrator plugin that creates actual halftone dots. It creates real dots rather than a halftone effect filter. But creating and managing actual vector halftone dots creates a ton of points and makes a document very difficult to manipulate. That's why Freehand and Coreldraw didn't display dots but a PS pattern instead.
  9. Kuttyjoe

    Halftone Support?

    I disagree. The current implementation of some features in Illustrator is a perfectly good goal to set sights on. I suppose you just hate Adobe, or hate subscription or whatever you hate, but this comment makes no sense. Designer is skeletal. Serif's marketing is largely based on getting away from the subscription model (read Adobe) so that's logically what should be reflected in the software. But it's not.
  10. Same here. For garment printing production work, offset paths is indispensible and also unique among the various popular vector programs. Coreldraw has something that is kind of like it call contour. It's much more involved and doesn't work well for the 1 second offset operation that I do constantly.
  11. This comment is interesting. Creators vs artworkers, or production artists. I agree with everything you've said here because I'm a production artist. Affinity software is not geared for that kind of work. It's exactly as you described it. It's good for built a design yourself, but it lacks the tools needed for edting any random art that you might receive from someone else. Even Coreldraw falls short of that kind of work. Only Adobe truly gets it done. Regarding the smoothing tools though, it's ironic that Serif's older product DrawPlus actually had not 1 but 2 smoothing tools, both brilliant and uniquely implemented. It's so sad that those tools are now lost forever along with quite a few other good things that were in DrawPlus.
  12. Realistically, if you're a novice then trying to get software not made for complex color seps to achieve something usable, is like learning a subject in a class that is being taught in a foreign language. If you knew how to do color seps, then you could mess around with software like this and see what's possible. If you don't know how to do color seps, your best option is to give the print to a shop that has it's own art dept, or you could try one of the various automated systems that "attempt" to produce a good set of seps, but with those, you pretty much always need to have some skills to edit the initial results that they generate. Having said that, Serif's older programs like DrawPlus and PhotoPlus are somewhat better equipped for this kind of work since they were created in a time when print was king and it was the beginning of the whole desktop publishing explosion. The Affinity products have different goals, and different features. I've spent time experimenting with all of these programs to see what they have to offer. I can get any of them to do basic seps. Complex halftone separations is a different story. Even if I could do it, the amount of time necessary makes it impractical. If you want to learn color separations, use software that is made for this task. The oldest possible copy of Photoshop or Illustrator are fully loaded for this work. I'm talking, vintage 1990's software. The next best thing is CorelDraw and Corel Photo-Paint. Not as good for this work as Adobe, but still having real tools specifically for color separations. Serif's Affinity programs will likely never stray into that territory. Not unless do it yourself t-shirt printing suddenly becomes very popular in the world. I may spend some time playing around with that rat print and see what I can get.
  13. Thanks for the reply. I’ve used DrawPlus for a long time but I find myself trying to use Affinity Designer on the iPad Pro in some different ways. I’ve never tried to sheer vertically in DrawPlus, I guess. I’ll have to give that a try.
  14. Snapping is not on. Screen recording won’t show the issue since you’d need to see how far the stylus has to be moved before the node, or object responds. It’s actually the same issue with the desktop version so maybe it’s not being considered a problem. But it’s different with different applications. If I grab an object or node, then move the cursor a just a hair, the object or node responds immediately in some other apps. In Designer, I have to move the cursor considerably farther before it responds. That’s the issue.
  15. Kuttyjoe

    Brush tool bug

    Update. I took a few minutes to look more closely at this problem. This problem is the same on Designer for iPad, Designer for Windows, and also Photo for iPad. I’ve attached a video. Use a brush. Any brush. Switch to any other tool, then switch back to brush tool, and the brush is no longer the same characteristic. Click off that brush for a different brush, then back to the original brush and it will be back to normal. It doesn’t matter which tool you switch to and you don’t have to use the tool. Just click on a tool, then back on the brush tool and it will be different. The settings in the brush panel seem to not have changed at all, but the brush is still different. The video shows a drastic difference. This is me painting pretty much with full pressure on the screen with each stroke. Brush Problem.mp4
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