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AffinityBrah

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Posts posted by AffinityBrah


  1. 16 hours ago, Martin Conrad said:

    Just wanting to add my voice to those requesting a measurement feature for lines/curves.

    At the moment, I am using a workaround of rotating my design to zero rotation, drawing a horizontal line from point-to-point, looking at the Width measure reported in the Transform window, then deleting the superfluous line and rotating the design back to it's original orientation.

    Pretty much what I am doing. Very inefficient though. But doesn’t work on curves...


  2. Hey got a request to speed up pattern making with these functionalities seen in Adobe Illustrator

     

    Video is long, but here are the functionalities that would speed up workflow.

    1) 3:52 When a line is selected you can press "Return" and the Move menu Pops Up with fields already highlighted so you can tab through and enter your desired measurement. What I am doing now: clicking on the fields in the Transform field is very inefficient. I believe CAD programs also have this functionality

    2) 5:13 Quick Dimensioning with new shapes. When a new shape is made, you can quickly enter dimension of the new shape with a pop up screen. Much better than clicking the Transform box.

    3) 9:32 Offset Path (something I already mentioned in different thread), but this pop up offset path is significantly faster than the Affinity workaround.

    4) 17:41 Scissor Tool (Cutting Lines of a Closed Shape) - Right nowI have been selecting the node breaking the curve and then deleting the node. The scissor tool in adobe does not require doing all this.

    4) 18:08 Measuring Path of Curved Line (Document Info)

    I know there are workarounds, but they are just too slow and inefficient. Thanks


  3. 7 hours ago, firstdefence said:

    There is no "cloning" in Affinity Designer Do you mean Power Duplicate i.e Alt and drag?

    Recording tip: Maybe show and example image or short video clip, there is a neat little app called Kap v2 that can make quick gif videos.

    I just tried both, it seems that I like to choose Command and Drag because I can also hold down Shift to keep that duplicated object aligned to the original one. Alt and Drag Disables Snapping


  4. 6 hours ago, Old Bruce said:

    I am going to show my ignorance here but can you not offset the inner or outer 'rectangle' using the transform studio to achieve what you want? I do understand why you need to have different offsets, I grew up listening to my elders complain about this sort of problem regarding sewing patterns and the material being not quite wide enough, and/or the pattern mismatching.

     

    5 hours ago, JET_Affinity said:

    You would just create the offsets by sequentially specifying strokes of those weights, aligning the strokes to the appropriate sides of the path (or just leave them centered and use twice the width). Cut and delete the portions not needed. Clean up the necessary joins at the corners.

    You'd similarly have to do multiple offset commands, even in other drawing programs like Illustrator. Typical offset path commands don't let you specify distances from a single path on a per-side basis, because the original path could be of any shape, so a "side" is a matter of interpretation. Illustrator has a feature that lets you set different "stroke widths" wherever you want along a path, but that's more intended for a variable "brushstroke" effect than for something that would maintain, for example, a continuous width along a portion of a curve.

    Affinity provides similar "brushstroke" functionality in the Pressure dialog, not directly on-the-path.

    JET

    Oh ok, that is pretty much what I have been doing. Though there was much more efficient way. Or set everything same width. Draw separate line that measures the distance I want and drag the the one side of the outer rectangle so is is appropriate distance by aligning with that line I made.


  5. 1 hour ago, JET_Affinity said:

    Not sure I'm understanding the seam allowances, but I suspect that's addressable by keeping in mind:

    • You can set the stroke's alignment to centered, inside, or outside before expanding it. So that should be useful for specifying an offset distance on either side of the base path.
    • After expanding the stroke and releasing the compound as mentioned above, you now have two separate paths. So you can repeat the process for either of those paths:
    1. Give either of them a thick stroke
    2. Set it to centered, inside, or outside
    3. Expand the Stroke
    4. Divide

    Using Expand Stroke for this is, of course, what I'm confident will be just a temporary workaround until Affinity acquires a proper Offset Path or Contour feature or a more fully-featured implementation of vector Brushes.

    It's just an educated guess, but I rather suspect that one reason such features have not yet been added is because the developers are aware of the problem that an inelegant number of nodes are created whenever paths are expanded and Brush paths are converted to outlines. (A problem I've seen in early releases of other programs, too.) I assume they are closely related functions. That's what I sometimes refer to as multiple similar features probably sharing the same  functional "foundation" when impatient users complain about what seems an obvious feature "omission." I'm confident the Affinity devs intend to get the underlying foundations optimized before building a bunch of features onto them, and applaud them for that.

    By the same token, for example, I'm confident the devs are aware that the result of Expand Stroke on a closed path results in a compound path, and therefore the Release Compound command should work on them instead of using the Divide Boolean button. But presently, Release Compound is grayed out after using Expand Stroke on a closed path.

    Affinity Designer is still very much a work-in-progress. But it's a game-changing bargain for what it already delivers and so far, we're not being charged for significant improvements between integer updates, such as those presently being developed toward the 1.7 release. For the price of the Affinity apps, we're getting a lot of value. So I have no problem cutting the development program some slack as the applications continue toward a more full-featured state.

    JET

     

    Yeah, still tons of value for the price. What I mean is different gaps between only only two strokes. 

    Say I have a rectangle. I want one side to be .25”, one side to  have a .5” gap, and the other to have a 5/8”. For the distance between the two strokes. It is all based on single stroke width, so it is not possible at the moment. Not sure if Adobe has it, never used their Illustrator.


  6. On 8/5/2015 at 6:31 PM, WillStall said:

    So, expanding stroke is one of the most common things I do. I use shapes to create negative space shapes constantly. I'd love any quick access.

     

    #1. A keyboard shortcut.

     

    #2. Right clicking should have a context option to expand.

     

    Thanks so much!

    +1 For This


  7. 4 hours ago, JET_Affinity said:

    AffinityBrah,

    After Expand Stroke and flipping the Fill and Stroke:

    1. Select the black pointer.
    2. Click the Divide button in the control panel.

    This releases the compounding of the two paths. Now you have two individual parallel paths that you can style as desired.

    JET

    Wow, thanks. I guess I am still out of luck for having different lengths (seam allowances) on each side correct since it is all based on single stroke thickness. 

    The node, cap, align for stroke can be buggy at times as well. Had to restart.


  8. 8 hours ago, evtonic3 said:

    Can you explain what exactly you need it to do that the workaround doesn't do? Where does the workaround (I'm assuming you mean the stroke method) or other method) break down for you?

    This is the workaround: 

     

    So pretty much, you make a stroke of the width that you actually want between the two lines. Then you expand the stroke. Hit reverse so the stroke color and fill in are flipped. Now you got two lines that are separated by the width of your initial stroke. It seems you can't change it so the seam allowance line is dotted only while maintaining solid line are outer line.

    Also I require different width on the sides.


  9. On 12/5/2017 at 5:10 PM, godobe said:

    Good evening firstdefence,

    If you want to have the outer edge as a dashed line, you can draw the shape with a 3.8 pt thick outline (for example).
    You copy this form for later use.
    Then you put the contour at a thickness corresponding to the space between the two contour lines (e. g. 28 pt), outside alignment.
    "Expand the Stroke", put the transparent filling and the thickness of the contour at the same size as the original shape (3.8 pt). Dash the outline.
    To finish stick the original shape on top.

    Double contour pointillés extérieur.png

    I have the same needs as firstdefence, although I don't understand your instructions. Is Offset Tool in development?

    EDIT: Nevermind found this thread: 

     

    I am all good!

     


  10. For Affinity Designer, when an object is selected with the Move Tool, is there a hot key to:

    1) Change X and Y coordinates from current location?

    2) Resize dimensions without moving my mouse to put my cursor to type in dimensions (width and height)?

    3) Or when Rectangle or Circle Tool is selected, to hotkey dimensions in

    Aka adding a pop up for coordinates and dimensions when this hotkey is pressed, and then another hot key to close that window.

    Thank You!


  11. 1 hour ago, v_kyr said:

    Well I don't know if that Fontastic service has any restrictions, or offers hints how a generated and uploaded SVG has to be defined in order to be parsed.

    Since I'm not going to make a never used account there for try outs, I've just downloaded a SVG sample from their icons overview page, in order to take a quick look inside for comparison with a text editor. - Their SVG icons there look like this ...

    
    <?xml version="1.0" ?><!DOCTYPE svg  PUBLIC '-//W3C//DTD SVG 1.1//EN'  'http://www.w3.org/Graphics/SVG/1.1/DTD/svg11.dtd'>
    <svg enable-background="new 0 0 48 48" height="48px" version="1.1" viewBox="0 0 48 48" width="48px" xml:space="preserve" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink">
    <g id="Expanded">
      <g>
        <g>
         <path d="M42,48H28V35h-8v13H6V27c0-0.552,0.447-1,1-1s1,0.448,1,1v19h10V33h12v13h10V28c0-0.552,0.447-1,1-1s1,0.448,1,1V48z"/>
        </g>
        <g>
         <path d="M47,27c-0.249,0-0.497-0.092-0.691-0.277L24,5.384L1.691,26.723c-0.399,0.381-1.032,0.368-1.414-0.031     c-0.382-0.399-0.367-1.032,0.031-1.414L24,2.616l23.691,22.661c0.398,0.382,0.413,1.015,0.031,1.414     C47.526,26.896,47.264,27,47,27z"/> 
        </g>
        <g>
         <path d="M39,15c-0.553,0-1-0.448-1-1V8h-6c-0.553,0-1-0.448-1-1s0.447-1,1-1h8v8C40,14.552,39.553,15,39,15z"/>
        </g>
      </g>
    </g>
    </svg>

    Yours is smaller uses width/height percentage settings, transformations and style defs and looks like this instead ...

    
    <?xml version="1.0" encoding="UTF-8" standalone="no"?><!DOCTYPE svg PUBLIC "-//W3C//DTD SVG 1.1//EN" "http://www.w3.org/Graphics/SVG/1.1/DTD/svg11.dtd">
    <svg width="100%" height="100%" viewBox="0 0 31 31" version="1.1" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink" xml:space="preserve" xmlns:serif="http://www.serif.com/" 
        style="fill-rule:evenodd;clip-rule:evenodd;stroke-linejoin:round;stroke-miterlimit:1.41421;">
    <g transform="matrix(1,0,0,1,-0.34901,-0.362837)">
      <g transform="matrix(0.379299,0,0,0.534808,-448.284,0)">
        <g transform="matrix(2.63644,0,0,1.86983,-1933.27,-1.5733)">
          <path d="M1204.17,1.226C1208.37,1.306 1212.12,4.996 1212.2,9.255C1212.23,13.915 1212.23,18.575 1212.2,23.234C1212.12,27.411 1208.56,31.18 1204.17,31.263C1199.23,31.295 1194.18,31.763 1189.36,31.211C1185.51,30.769 1182.24,27.326 1182.16,23.234C1182.13,18.261 1181.6,13.226 1182.22,8.326C1182.71,4.505 1186.18,1.302 1190.19,1.226C1194.85,1.197 1199.51,1.197 1204.17,1.226ZM1190.3,3.726C1187.36,3.744 1184.72,6.313 1184.66,9.287C1184.63,13.949 1184.57,18.613 1184.66,23.275C1184.75,26.141 1187.26,28.671 1190.15,28.762C1194.83,28.851 1199.52,28.851 1204.21,28.762C1207.09,28.671 1209.64,26.135 1209.7,23.202C1209.73,18.54 1209.78,13.876 1209.69,9.214C1209.6,6.323 1207.05,3.782 1204.13,3.726C1199.52,3.697 1194.91,3.726 1190.3,3.726ZM1201.85,22.388C1201.48,22.388 1201.18,22.288 1200.94,22.089C1200.7,21.889 1200.58,21.595 1200.58,21.206L1200.58,15.129C1200.58,14.741 1200.7,14.447 1200.95,14.247C1201.19,14.047 1201.49,13.947 1201.85,13.947C1202.2,13.947 1202.5,14.047 1202.74,14.247C1202.97,14.447 1203.09,14.741 1203.09,15.129L1203.09,21.206C1203.09,21.595 1202.97,21.889 1202.74,22.089C1202.5,22.288 1202.2,22.388 1201.85,22.388ZM1195.74,12.665L1195.74,21.09C1195.74,21.478 1195.62,21.789 1195.38,22.022C1195.15,22.255 1194.84,22.372 1194.44,22.372C1194.05,22.372 1193.73,22.255 1193.5,22.022C1193.26,21.789 1193.14,21.478 1193.14,21.09L1193.14,12.665L1190.44,12.665C1189.62,12.665 1189.21,12.31 1189.21,11.6C1189.21,10.9 1189.62,10.551 1190.44,10.551L1198.43,10.551C1199.25,10.551 1199.66,10.9 1199.66,11.6C1199.66,12.31 1199.25,12.665 1198.43,12.665L1195.74,12.665ZM1201.85,12.615C1201.4,12.615 1201.05,12.501 1200.8,12.274C1200.54,12.046 1200.41,11.738 1200.41,11.35C1200.41,10.961 1200.54,10.656 1200.8,10.434C1201.05,10.212 1201.4,10.101 1201.85,10.101C1202.28,10.101 1202.62,10.215 1202.88,10.443C1203.15,10.67 1203.28,10.973 1203.28,11.35C1203.28,11.738 1203.15,12.046 1202.89,12.274C1202.64,12.501 1202.29,12.615 1201.85,12.615Z" 
          style="fill:rgb(70,70,70);fill-rule:nonzero;"/>
        </g>
      </g>
    </g>
    </svg>

     

    So I ended up trying Iconmoon, worked right away. Nothing was wrong with my icons at all. It was just Fontastic. Thanks again


  12. On 1/15/2018 at 6:42 AM, MEB said:

    Hi afandi_line,

    You have to flatten al vector layers/elements that compose the icon using boolean operations to merge them and end up with a single shape. Lines must be converted to shapes (menu Layer ▸ Expand Stroke) before you can perform boolean operations with them. Then you can export them as SVG's and import them on iconmoon or other service to create the font.

     

     

    I know this thread is from last year, but I can't seem to get my Icon Font to register on Fontastic. I have expanded the strokes already. What do you mean by flatten al vector layers/elements? My icon is on a single artboard.

    Titanium.svg


  13. 1 hour ago, v_kyr said:

    He means that seamless feathering of the wood parts in the background makes things easier. - Don't forget to flip the background horizontal due to light and shadow fall of both here the background and the jacket.

     

    Alright, thanks. I might have to end up getting real backdrops. I don't really think it is feasible long term. So this is the best I got. 

     

    ecXxukT.jpg


  14. 26 minutes ago, bor said:

    If You look closer at that wooden background, somethins is just not right, the facture and knags, are to big, unless it is coat for ants :D Try to scale background way down, if needed duplicate multiple time (semless feathering get job done)

    Also lighting is off, on the flor is from right to left but on cout in oposit way from left to right, look at casted shadows by rinkles.

     

    Ok, thanks for response!

     

    Does this look better? I duplicated background and you could probably tell, but what is the method for seamless feathering? I just went to Affinity Photo and used the Inpainting Brush. Not sure if there is a better method. Is there a way so that duplicated background doesn't look so obviously duplicated?

     

    L6vhlbH.jpg


  15. gpZ3Wg8.jpg

     

    Hi guys!

     

    I am practicing placing products specifically clothing on different backgrounds. Does something seem off to you guys? It does to me, but I can't pinpoint.

     

    So the jacket was on a white background. I cut out the white background. Placed in the wood background. Then added an outer shadow in similar, but darker color to the wood background. I added slight inner shadow.

     

    As a photographer, I am trying to find a way to minimize the amount of large wood backgrounds. I want to be able to take a picture of any product and realistically place it on any background matching shadows and highlights of the background I am putting it on. Just as if I really had this wood background.

     

    These photos aren't mine, but just practicing.

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