Alfred

A more appropriate term might be "trendy modern dark UI" rather than "professional modern dark UI" since true professionalism seldom means pretty-at-the-expense-of-efficiency.

I know that every person has a different workflow, therefore I'm a huge fan of customization, i would simply make a toggle option for this in the preferences.

Hello again!
 
I have been working on a project that dealt heavily in 80's retro aesthetics. I needed a brush that was reminiscent of the painterly slashes and strokes of the era- I couldn't find anything that fit my needs specifically
 
so...
 
I made some.
 
Thus was born "The Turbo Rad" set. 50 Vector brushes modeled after the typography and graphic design of the 1980s.
 
Each brush was hand made using different media and surfaces that are then scanned and touched up to achieve the right weight, angle, splash, and texture. They're all named in reference to touchstones of the culture.
 
TIP: Give the stroke an Outer shadow with a radius of 0 or Outer Glow to give them that gnarly 80's vibe.
 
If you purchased the Box Set (at any price) this update is totally free. You should have received an Email with instructions to download it. If not, you can Re-download the Box Set from gumroad and it will include the Turbo Rad brushes.
 
If you haven't gotten your hands on my set of 200 vector brushes, you can use the Promo code INKTOBER all month for 20% off the box set.
 
I hope you like what I've made and that they can help you make your work most excellent!
 

 
 

AFAIK, Serif apps have always behaved like this. It's a consequence of long-clicking to start a drag. When you press the mouse button over an object, we have to decide whether that's a click or a drag. Many people move the mouse slightly while clicking, so we have to ignore small mouse movements. But this makes it hard to deliberately drag an object by 1 pixel for instance, so we assume that when the button is held down then you really do want to drag, and then we stop ignoring small mouse movements. The object is now in "drag mode", so if you're holding Ctrl you get a Ctrl-drag, duplicating the object. 

I'm with you on this, chekka. I'm currently using AD on Windows beta, and I wouldn't like to try to figure out APh at the same time, but when APh beta comes along there will be many things that are already familiar, leaving me free to concentrate on the new things. The same will happen again when APub becomes available next year.

Build 20 will be available shortly.

From somewhere directly in front of her, obviously! :P

Welcome to the Affinity Forums, lizziebenson. :)
 
It looks as though you failed to attach your example after uploading it, but I presume you want to make images like the ones shown on this page. I don't think you can do this in Affinity Photo; as far as I'm aware, it doesn't include any features for dealing with video footage or animated GIFs.

I enjoy digital / paper / hybrid scrapbooking and crafts.  Usually I use others' scrapbook kits, but occasionally make my own.  Here is a recent one, done mostly on AD / AP.  If there are any interested scrappers, you can download the kit at:
https://drive.google.com/file/d/0B815VnrrSEEzOFhvcWxVVFpuRXc/view?usp=sharing

AD on Windows beta 1.5 already does this. :)

The first one does it for me. It's all in those wonderful eyes that you draw: in the second version, the extra red areas on the face distract attention from the eyes, and in the third one the eyes can't be seen clearly.

Would also look good as a test card, if it you wanted to add more colour, gradients and technical grids etc.
 
Another really rubbish made up NASA factoid, the teabag was invented for these brave chimps, so that they can enjoy The Taste, without the loose tea leaves floating around the place! :P 
 
Houston, we have a problem...

There are a number of reasons.  Often games use known or fixed pipelines, and heavily preprocessed data. The editing phase and optimisation of input data was done way in advance of it being used in the render pipeline, sometimes at considerable cost that couldn't work in realtime (or 30fps).  Render pipelines are also often ordered and restricted for performance reasons, and certain tricks used to limit wasted calculations.
Games also only require the data to go in one direction - to the graphics card (and display).  They can be loaded with managed inputs, but the results and intermediate stages can be kept on the graphics card, without the need to pass it back to main memory for other processing. Transferring pixel data back and forth between memory on the card and main memory has historically been slow.
 
So, it's not a good comparison between games and creative software.

Hi Alfred,
There's a button in the context toolbar to Maintain fill aspect ratio (check screenshot). I believe it's already in the Windows version, but i'm not sure.
 

 
 
 

You're absolutely right...It's an acronym for Sorry Mate I Didn't See You!
 
This is due to the fact that cars/lorries/buses/vans can't see cyclists/motorbikes/pedestrians and other vulnerable road users. Typically found at t-junctions and roundabouts. This is usually caused by a lack of attention/high speeds/poor visibility/bad mirror usage/low level sun/foggy and frozen windscreens, bad A-pillar design and not forgetting driving rain because door windows and mirrors don't have wipers. :(
 
So as someone who has experienced both sides of this; I can say it is everybody's responsibility...
 
http://www.safespeed.org.uk/pr132.html
 
PS
 
It was a robot on Robot Wars, in the 7th wars.
 
http://robotwars.wikia.com/wiki/S.M.I.D.S.Y.

I can not agree with this way of thinking. For me, it is a great time figuring out all the functions of APh and AD, while waiting on APu. So I will have an smooth transitional period from my Adobe products to Affinity.
I have no problem waiting for APu ’til next spring or so (but not longer : )

It turns out my statement was wrong! The macOS version does indeed support Type 1 fonts, so we will add support to the Windows version as well. Keep an eye on the changelists in the coming weeks.

The first one does it for me. It's all in those wonderful eyes that you draw: in the second version, the extra red areas on the face distract attention from the eyes, and in the third one the eyes can't be seen clearly.

Welcome to the Affinity Forums, N.Munch! :)
 
I see the same thing here. There's also a big space before the second 'E' (after the 'P'). I've tried it with a couple of other fonts, and I get the same effect.
 
I don't know why this happens, but you can fix it with the Kerning control (in the 'Positioning and Transform' section in the Character panel) or by pressing Alt+left-arrow when the text cursor is sitting immediately to the left of an 'E' in the text.
 
Edit: Looking again at your text samples and mine, I think it happens because there is a large gap between the base of the 'W' and the upright stroke of the 'E' (and between the upright strokes of the 'P' and the 'E' that follows it). When you curve the text, those points are kept in the same relative positions while the tops of the characters are rotated outwards.

I understand now! My thanks to both of you.

Cool! (Cliche alert :P )
 
This would look lovely on the back of a frozen food van.
 
It's a rough edit, as I got frostbite halfway through. ;)

Exactly.
 
I created a gradient in a layer fx (gradient overlay). That gradient I want to "extract / re-use as a fill in other objects which have their own (different) layer fx. So a swatch would be the solution here. 

Hi Alfred,
Not necessarily, because that will copy all the FX effects to the style/object (the gradient was created as a Gradient Overlay effect in the Layer Effects panel, not as a regular Fill). If I understood correctly Stefan wants to save the gradient as a colour swatch from that panel. Copying the FX also has the disadvantage of forcing the rasterisation of the layer the effect will be pasted on.