NotMyFault

I would try to decouple creating swatches from using swatches for tables. create the swatches e.g. from a regular rectangle while the fill tool is active (not using any UI related to tables). All swatches should be visible the in table related UI. A fill layer is a special layer type in Photo. You normally can use a rectangular shape in the size of the document / page / artboard instead. I dont expect a fill layer is required in Publisher. Either a help text was borrowed from Photo, or the term was used to say „any vector layer (not pixel öayer) below having a fill“, or someone mixed up fill layer and fill tool. Can you share a screenshot and the link of the help page where you found this?

Ja, das funktionier leider nicht auf iPad. Einer der vielen unterschiede.

Welcome to the forum @Romy666 unfortunately not a function where Affinity can really shine. Can you give an example what kind of objects you want to align to what kind of path? It really depends. what you can do: use text on path. If a font contains a symbol this is the easiest way. On Desktop you can paste shapes between text, on iPad the UI is buggy and does not allow this. distribute or align objects to horizontal or vertical lines. With help of rotation, to any line in any angle Distribute objects using power duplicate - limited set of figures possible (move and rotate) Use point transform tool to align layers based on selected curve nodes however, Affinity is neither a CAD tool nor an animation tool. You may need to look elsewhere if that is the primary use case. You cannot automatically align multiple layers to a path defined by a curve.

I did not understand how the filter actually works. My best way to describe it would be: it makes all pixels partially transparent and alters all color so that you would get the original layer if you add a pure white layer below the layer after erase white paper. it virtually delivered the colors a printer device needed to put on a white paper to create the original image.

Welcome @lottebrockbank to the forum. I don’t know how PS works, so please take this with a grain of salt. Affinity Photo or Designer can probably achieve the same result, but in a different way. First, layer locking is completely different in Affiniy apps. It protects only against movement or resizing, but not against painting or any other operation. Locking has nothing to do with coloring. If you have a line drawing, assuming black lines on white background, you can use various methods to change the color of either background or lines. using the lightness value as kind of filter, you can add a colored rectangle or fill layer on top, and try different blend modes (works best for greyscale tones) use blend ranges to selectively apply the color to either light colors (background) or dark colors (foreground). regarding the texture, i don’t have an answer as i did not get what you want to achieve affecting the black lines which are normally very thin. if you can upload an example showing a scan and what you did with that scan in PS this would help me to get an idea.

Better don‘t use these brushes on curves or shapes with hard nodes. Always ugly or unpredictable results. And you must carefully choose brush alignment inner/outer/center depending on context. This is the reason to always add a full opaque block to the middle - saves your day in case inner/outer alignment which cuts off one half. And you need both variants, in cases where reverse curve had unwanted side effects e.g. start/end decorations.

So create a 720x360 sized rectangle (or size larger / smaller as needed) add a gradient from bottom to top. 1/2 pure black, 1/2 black to white export as tiff or png invert the rectangle and export again in brush panel, create a new category for intensity brushes (and optional image brushes). If mixed in one category there are optically indistinguishable. Add new intensity brush from exported png ( 2 times) optional: add image brushes in other category. Both behave differently, choose the one fitting to the edit steps, especially then adding color to the brush. you need both to control on which side the gradient will sit when applied in Designer as vector brush

Maybe reported before. When you try from a document in RGB/8 format as jpeg but choose CMYK color format for export, a wrong list of color profiles is presented (not a single CMYK, but all other profiles for RGB etc. Same in Designer and Photo Persona.

The file is in RGB mode, and the placed image, too (good) giving saturated rendering. The export result you see looks like export to CMYK with U.S. Web Coated (SWAB) v.2 color profile. I placed the screenshot into the file, and added a soft proof adjustment to versify. So please check the export options you have used.

The rendering of this file does not fit into your proposed model. If you add the blend result of lower layers into the group, you would get the rectangles clipped to the crescent. But Affinity renders the crescent above erased bounding box over the lower layers. group with mask bug.afphoto

The problem I face is my iPad M1 does not reliably react to changes of child layers within a group. When I add/delete child layers or de/activate them it is totally random if Affinity updates the rendering - even after 10 Seconds wait for a low res document with 3-5 simple vector shapes. Even the usual change zoom trick to force redraw does not work. I need to de/re-activate layer multiple times until I get a redraw and can never trust the result. this lack of redraw may caused me to sometimes assume no effect of changes. BTW Designer on Mac Mini M1 still has erratic rendering when zooming between 200-400% which I use very frequently to check for anti-aliasing effects. It is a shame that Affinity did not fix the rendering bugs on both Mac and iPad 4 years after being advertised launch app for M1 based devices.

Please provide the test file. I did tests on my side giving results consistent with my model.

While this sounds like an great explanation what should happen, I can’t reproduce this in Affinity. in principle: have a layer stack of a group with BM path-through above some lower layers. Merge visible to have a reference of blend result. Deactivate it. deactivate group. merge visible. deactivate lower layers. move merged layer as bottom layer into group activate group set BM of group to normal merge visible again , deactivate all layers below now compare both top merged layers. On iPad, those do not match.

I can’t reproduce that a fill layer restricts adjustments. Only pixel layers have this effect.

Hi, lots of aspects to consider. You can open files from in Affinity Photo from Apple Photo library You can select a Photo in Library and edit this in Photo in principle, but this requires to create shortcuts for Photo (before) and probably some unfixed bugs affecting certain iOS and Affinity releases make this impossible. iOS has silly methods to determine which app is responsible for which file type, making this feature problematic. Apple Photos on Mac may open images in reduces resolution. To get full resolution, you may need to export the image first into file system. I did not check if similar things happen on iPad. Affinity does not want you to overwrite opened files, except when using the native afphoto formats. Instead you can export into a new file, and leave the old file unchanged. It is possible to overwrite certain file types, don’t use this in general. so Affinity apps suffer from some principle iPadOs constraints and bugs, plus adding some more Affinity quirks to the equation.