Filo63

Sorry but in this discussion there is something that escapes me. For several years and without having read anything I have been able to copy the levels either with keyboard shortcuts or with the right mouse button. I can copy multiple layers, anything that is nested in the layers. I can also copy the FX settings which are pasted under the edit menu or with keyboard shortcut. I really don't understand what's missing.

I'm sending you the bill to cure me of Stendhal's syndrome!!!

Now it is clearer to me !!! Thank you

Ok, keep in mind that the customer uses large format printers, for glass, with ceramic inks https://www.tecglassdigital.com https://www.dropbox.com/sh/9vhb4zcd0ezr7cc/AADtp0tFLpDACnGlfV5lvVaLa?dl=0

Unfortunately, the printer is disturbed by those lines that are seen with high zoom. In the example, zoom 100-400-800% Ciao Fabio

I need a tip. When I create repeatable, seamless textures, it is often necessary to rasterize them in png or jpg to make them usable for the printing departments of a client of mine who prints them on glass. The problem is that, for antialiasing, a clear line remains between tile and tile. One thing that can be seen enlarging a lot, but unfortunately in printing, with ceramic inks, is very visible. Is there any way to overcome this problem? Thanks Fabio

working on product design I believe that everything expressed above is really necessary !!! Often we have to photograph portions of materials to be mapped on the models but eliminating light and shadow strokes is a long and imprecise job ... having tools in this area would be very useful. It would be really good news for the world of design. There are many companies out there that are working on suites of very complex programs, certainly beautiful and powerful, but for many of us it is more effective to have what is written above in a daily use tool such as Photo. thanks Fabio

Per ora non esiste una funzione che ti permette di estendere la tabella in una pagina successiva. Speriamo che questa funzione venga implementata successivamente... per ora bisogna creare due tabelle identiche Ciao

In this world we tend to give too much importance to the instrument, it is more important than professional that the man who uses it. In over thirty years of work I have had the opportunity to see many people, really professional, who brought out splendid works from simple tools. Often, very simple software from small software houses have the ability to solve specific tasks because they focus only on these while larger software must necessarily be generalists. In the Adobe family, plug-ins have multiplied that had very specific specific qualities ... and as SrPx often writes, if you turn to the world of "3D" you will find out how many things change and change continuously, the rendering engines to give an example typical. I understand that for many to scream or fear a non-professionalism of Serif's tools is a way to stimulate them, but I would prefer that the implementation of new utilities corresponds with the quality of the same. Distortions, Warp and Perspectives are very useful but too often low quality tools, I prefer to work by hand until I find something that does it equally well. In Affinity there are many tools that need to be improved, see the stroke expansion, which I frankly prefer to wait for than having a tool that works badly. In the meantime, I discovered that Affinity has solved so many important things to me compared to my normal workflow, so much so that I have definitively abandoned Adobe after more than thirty years of loyalty.

I have never loved Adobe's transformation and warp tool because it is inaccurate with the result I would like to get. Before Affinity, with Ai I used the warp tools as a starting point, then I rasterized them and took them to Ps to draw on them with the Cintiq. Once I got the desired sketch, I imported it to Ai to retrace them. Now with Affinity I create my writings on Publisher, transform them with the tools of Photo as a sketch and redesign them with Cintiq until you get the desired design and then retrace it. All this with a single software thanks to StudioLink. I can not be satisfied and for this I hope in a more precise and sophisticated instrument from Affinity ... with the digital pencil and today also that of iPad I can draw by hand what I really want. Forgive me but I'm too tied to the accuracy of my sketches and for this I thank Affinity for including them in a single graphic tool. I'm probably too old, but what a creative can do with pencil is basically better.

I started the Graphic Designer business when the computer was not yet used, so I experienced the whole digital epic. I have used the triad of Adobe products from their very first versions including PageMaker and QuarkXpress ... good versions and bad versions could be the plot of a book! I also miss the warp distortions and much more, but not being a programmer I don't know if they are so simple to write. What I know and appreciate is that the Affinity project has adopted a philosophy consistent with the work of the Graphic Designer. 1 - the files are readable and editable by any of their software, keeping the levels and their characteristics intact. 2 - in each of their software I have a direct manual drawing level without having to use another software. With a Wacom or an iPad I can explore modifications and shapes of my projects through sketches ... sorry for the presumption, but this is the basis of an analog-digital graphic project. 3 - have created a layout software that brings them all together into one tool (StudioLink). This point has been dreamed of and coveted by many professionals for over thirty years. For Affinity to be complete it will take many years, and it will never be complete, but I can say that today it is probably the software suite most consistent with the graphic designer's operating spirit. Take a blank digital sheet, the pen of your iPad, Cintiq or graphics tablet, and start sketching your idea, without changing software, start transforming it into a vector or bitmap executive and then move on to the print file ... let's give time to time, but this is a great thing and Adobe still doesn't offer it after 33 years of software development.

GT70 if all the software houses waited to complete a product in all its components before moving on to another we would only have Adobe Illustrator which was born in 1987. it seems obvious to me that to be competitive in the world of graphic design they have to develop the three main software almost simultaneously ...

OK...Thanks Ciao Fabio

Until now to open files from iPad I used the FileBrowserGo app, now that I've updated to iPadOS I thought I'd do it from the File finder but I couldn't. From the iPad I see the folders of my Mac through "File" through the connection to the server but this does not happen from within the Affinity applications. I also tried directly from "File" and I can't. The same operation on a .psd file works, in practice I can select it and when it is open, if I select sharing with Affinity Photo, it opens it. Am I wrong about the operations or do you have to wait for some updates? Grazie Fabio

I still remember when Adobe was charging the double license for mac and for windows. Then they introduced a new payment model and "grant" the use on different platforms ... I prefer Affinity for many reasons and I paid for the iPad version as well as the Mac version and I find it right. I don't think that writing an application for a single operating system is the same as writing it for more than one OS. Of course they could increase the cost by 25 € and say that it was possible to use it on Mac and on Win ... other 25 and give it also for iPad. Probably doubling the cost they could promise more but pleasing few people and making many more "sad".