Jump to content


  • Content count

  • Joined

  • Last visited

Everything posted by simonlayfield

  1. I was looking for a solution to this today as I need to do something similar, the difference being that each Artboard is one side of a double sided print (these are clothing hangtags). Unfortunately when exporting each Artboard to it's own page of a pdf it becomes a real task to align the front/back artwork for each hangtag when aiming to print multiple hagtags per page (more efficient use of paper than printing one hangtag per A4 page). Has anyone had any success with anything like this? The only thing I can think to do is to create an A4 Artboard and add each hangtag artwork to the page (positioned for double sided printing) and manually add bleed/crop marks.
  2. @MEB Yep, got it working thanks!
  3. Oh man....me again. So, black and white actually doesn't work in the way that you'd expect. Basically adding any fill colour should activate the mask, and then using the opacity will give you varying degrees of visibility.
  4. Ugh. As soon as I posted this I figured it out. The trick is to use a black and white fill on the vector shape - as you would a pixel mask. Apologies for making noise.
  5. This seems like the right place to ask this question having searched the forums. Is there a way of clipping OR masking an Adjustment layer with a vector shape? I realise that Adjustment layers have their own built in pixel masks, but basically I'm aiming to see the effects of an Adjustment layer only within the bounds of a vector shape. I've been playing around with it and it doesn't seem to work in the same way that clipping and masking layers, groups or shapes does. Thanks in advance.
  6. simonlayfield

    Designer: Artboard re-scaling

    Hey @MEB I ran in to a seemingly similar problem today and this is the closest I can find on the forums to an existing issue. If this needs to be a separate issue let me know. I've also uploaded the file if you need it. Using Affinty for Mac v1.6.1 (App store). Thanks affinity-artboard-resize-issue.afdesign
  7. simonlayfield

    Divide outline?

    This is really causing me some trouble with a logo I'm working on for a client. Even if I re-add two neighboring shapes together there's a rendered, fragmented gap. See GIF below. Is there any way to re-add shapes without the anti-alias gap? Thanks!
  8. simonlayfield

    [Fixed] Symbols and Synchronisation

    Ah. I'm still using v1.61 via the App Store so perhaps this is something that has been addressed already. Interestingly (shown bleow) if you drag an existing symbol inside another it doesn't appear in the instances (as I mentioned previously) BUT if you drag the (nested) symbol in to a new layer and THEN nest it, it works! So this is an easy enough workaround, if others are struggling with the same behaviour. Thanks!
  9. simonlayfield

    [Fixed] Symbols and Synchronisation

    Hey all, I'm having an issue with symbols again so I thought I'd raise it here in case for some reason it's expected behaviour. So, I'm using symbols functionality to create a tiled patterm - this way I can update or add to an existing symbol and the tiled pattern as a whole updates (this is for textiles so by far the most efficient method). Unfortunately it seems that using symbols within symbols isn't an option. As you can see in the capture below dragging regular curves in to the tile symbol updates the pattern - but dragging a symbol in to an existing symbol doesn't update the instances. Is this as expected? Thanks in advance
  10. Hey team, Couldn't find this on the forum but unsure if it's a bug or expected behaviour due to the complexity of the curves. I have a number of unclosed curves drawn using the vector brush tool. I need to be able to close the curves and combine them in to one curve so that I can use them as a mask for another layer. Closing the curves seems fine, but then unfortunately when using the Union tool some of the curves disappear. Is there a reason as to why this might be? See below Thanks
  11. simonlayfield

    Affinity Designer curves disappear when using Union tool

    Y'know what? Clicking Close Curve twice actually seems to fix it. Is this expected? Does closing a curve twice in some way change it's behaviour/curve properties?
  12. simonlayfield

    Affinity Designer curves disappear when using Union tool

    Sure no problem! I've reduced the file down to just the elements that are causing the issue. In the file there are a number of groups (flowers). If you Ungroup all, select Close Curve (so that all curves are closed and can be merged together as shapes) then hit Add you'll see some of the petals disappear. affinity-union-bug.afdesign
  13. simonlayfield

    Add Pantone colors in Affinity Designer

    I needed the Pantone Fashion and Interiors colour book available in Affinity Designer for designing tech packs for the clothing industry. I started out by selecting from the whole spectrum of colours (colour wheel) and then had to go through the document at various stages, copying hex codes and using the Pantone Colour Finder to provide me with the closest Pantone colour, copying the hex code and pasting it back in to the hex field in AD. So...a bit tedious, not to mention a little unreliable because when converting any old hex colours to Pantones the results aren't as close as I'd like. However, I did find a list of Fashion and Interior Pantones hex codes online here and reformatted the pantone-numbers.json to csv. That way I can drop them in to Affinity Designer > Contents > Resources > pantones and they show up as an additional palette in AD. Much easier. It's attached here if anyone needs it. Hopefully there isn't a downside to this, other than the colours themselves needing to be manually updated when Pantone update their range. pantone-fashion-interiors.csv
  14. simonlayfield

    Node Tool Curve Selection Accuracy

    @MEB Ah I see, thanks. Yeah this does help. Also dotted line problem solved - thanks!
  15. I searched the forums but couldn't see this issue (or at least how to work around it) so apologies if this is a duplicate. I have a grid of curves (lines) and need to select one line in particular, but unfortunately the node tool struggles to identify the curve I'm attempting to select (the vertical line): Is there a way that the Node tool can explicitly select the curve I'm actually clicking on and not curves in the surrounding space? My guess is the node tool is selecting the other curves based on their boundary boxes - which being higher in the layer stack take priority. Either way it's super fiddly to deal with when adjusting each curve in the grid by having to move the layer order around every few seconds. Or am I going the wrong way about this? Thanks in advance
  16. simonlayfield

    Node Tool Curve Selection Accuracy

    @fde101 I do find naming layers, groups and curves useful in certain cases. In this case, though, sorting and naming 80 grid lines isn't what you'd call a sustainable workflow. For example, what would be the best way to name these grid-style lines? horizontal 1, horizintal 2, horizontal 3...? I that case if I decide to add more lines in between later then these numbers become semantically incorrect and misleading. I appreciate that some manual management of layer/curve naming can help in some way with navigating the elements, but it's kind of sidestepping the issue that curves should probably be directly selectable in this instance - if not by default then perhaps a setting that can be toggled. That's my POV, but I do appreciate your suggestion and agree that it is helpful - just not ideal.
  17. simonlayfield

    Node Tool Curve Selection Accuracy

    Also on a separate note - can you try creating a simple dashed line in this document? It doesn't seem to work at all for me. If this is a bug I'm happy to create another ticket but thought I'd check first. Thanks
  18. simonlayfield

    Node Tool Curve Selection Accuracy

    @Sean P Sure thing! file attached. The issue isn't that the lines aren't at all selectable, it's that the Node Selection tool presumably isn't designed to select lines (curves) directly. So when you have lines close enough together it seems to prioritise the selection of lines that are higher in the layer order (perhaps this also involves the curve's boundary box). Try clicking directly on a line in the roof in the attached file and you'll see what I mean. It might be that when you zoom in close enough you can directly select a curve but it's unreasonable to suggest that this is a manageable workflow when numerous adjustments may need to be made, and despite zooming in to select you'd only have to zoom out again to see the context of your change. @fde101 While you're right that you can select the curve in the layers panel, it's in no way easier. When dealing with lines like this, all part of the same section of artwork (and so alongside each other in the layers panel) this is what you see: ^ In this case there are about 80 curves - all indestinguishable from one another in the layers panel. It's like bobbing for apples, essentially. church-sketch.afdesign
  19. Apologies, I think I may have caused the global colour confusion by suggesting it in a previous comment. I did stress that this only satisfies the single use case of changing the colour of multiple objects (fill/stroke) without having to selecting them - something that if you weren't aware of might save you some time. In hindsight perhaps I shouldn't have muddied the thread topic. My bad.
  20. simonlayfield

    [Fixed] Symbols and Synchronisation

    Just chiming in to say this happens to me sometimes too and is pretty painful when I have a large number of symbol instances. What might solve the problem is that when working with Symbols and performing an action that breaks a synced attibute a brief UI prompt to say: 'Performing this action will affect the synced attribute of this symbol.....[Continue] or [Cancel]'. This way at least the user is aware that a Symbol will break as a result of the action and can decide accordingly.
  21. @VectorVonDoom It's true - and I wasn't suggesting this is a sufficient replacement for that feature. Select by same colour/fill/stroke appearance is powerful because it allows you to perform number of options once selected. I thought it was worth posting because it covers one of the many use cases that might apply, and global colours are a feature perhaps not everyone would know about. I'm hanging out for the feature requested in this thread because I've felt the pain of having to select a crazy number of shapes and curves in order to make document-wide amends to complex artwork. Yeah, this involves some manual management of global colours. If it helps, you can show global colours as a list and then rename them to more useful/descriptive terms. See below: The only caveat here is that if you end up using the 'Face Tone Dark' global colour for something that isn't part of the face then semantically it can get confusing. It really depends on the complexity and level of granular control as to what naming system is most useful.
  22. @madtho If you happen to be creating a project from scratch you can workaround having to change colours in multiple places by using global colours within a Document Palette. If, when creating new objects the global colour swatch is used as a fill or stroke colour then you can change this colour later and it will update whereve it is being used in the document. See below: The only thing to be aware of is that a global colour isn't a global colour in the strictest sense - the swatch actually has to be active when you're creating new objects. It will, however remain 'attached' to the object if a shape is duplicated (as above). Of course this isn't the same as selecting by same fill/stroke/appearance but as far as amending colours in a document goes it saves having to essentially go through the same manual process of selecting a huge number of shapes and curves (which would have to be selected separately by whether the colour of the stroke or fill needed changing). Hope this helps
  23. simonlayfield

    Section Manager

    Just wondering if there's a known workaround for this? Unfortunately my page numbering relies on sections and is currently uneditable. Is there any other way to remove/edit sections? I'm guessing not, but thought I'd check.
  24. Had a quick look for this on the forums but could see it. Thought I might see if others would find it useful. So If I want multiple shapes to maintain the same fill, the way of achieving this is to set a global colour and then select the relevant shapes and set the fill to the global colour. Now if I want to affect the fill of all of the shapes together (without having to select them) I can change this global colour and they'll all change accordingly. Now, if I were to then import a palette that contains the same fill colour as the colour of these shapes, I feel like I'd benefit immensely from keeping that colour global for those shapes. If there's a concern that some shapes have global control and others don't (i.e. there are shapes incidentally the same colour that I don't want to control globally with the others) then there'd have to be a separate fill of the same colour that isn't global for those. Ultimately I don't see a problem with, when importing a palette for artwork with global colours set, and the palette contains those global colours, a prompt to say: "This palette contains colours that are currently set as global, would you like to maintain global colours?" Yes | No This way I don't have to go through the effort of selecting all of these shapes again and setting their fill as global - a big time saver considering I'm currently using global colours as a workaround to this issue: Does anyone else think this would be useful?
  25. simonlayfield

    Cut a Path

    Ah, ok I see. Thanks all for your time, I'll move ahead with the solution @R C-R has suggested. I guess I'm used to Compound Paths in Illustrator maintaining their structure when adding and subtracting separate shapes. This is fine though, just a little less intuitive - thanks all!