iuli

The pressure graph seems to be a relic from DrawPlus where you could create a profile for a type of brush or fountain pen and save it. Or maybe it was just for the current object in a document. In any case, it has ended up in a dead end, and now in a complexity where no one knows what it is other than very little useful.
But unfortunately, it all seems to be an example of how the old Serif just builds on top of and on top of, without making thorough refactorings, simplifications, and overall improvements of features along the way. A serious company DOES do this, and moreover, it's incredibly appropriate for core features that core customers have used for a decade. That's simply how it's done (except in partially abandoned software like Xara). This isn't the Golden Gate Bridge or the pyramids. Architecture and software can be significantly improved on an ongoing basis.
As a CEO, I would scream until midnight if my employees suggested coupling an old-fashioned rotary dial phone with an iPhone. If the suggestion came from a CEO, then the employees should scream until midnight. And read job ads. Along the way, existing functionality needs to be altered so that the new makes sense for everyone. The most incredible thing is that Serif apparently has lost touch with the fact that the advantage they gained by starting over with Affinity will soon be lost and gone if they do not replace outdated functionality continuously as part of Affinity. The architecture is no longer shiny metal and strong, but aged, dusty, and worn. This is the IT world, after all, everything you make is outdated a week later.
Vectorstyler - which is growing on me for pure vector work - builds on good ideas about stroke profiles and a much more contemporary user interface. And I love the quality of the underlying algorithms that draw bezier curves both with the pen tool and in the stroke width tool. They are simply world-class. What attracted me to bezier curves the first time I saw them is what Vectorstyler renders so beautifully. It would surprise me a lot if Adobe's development team doesn't have a job offer for the man behind it.

The tool itself is designed to dynamically adjust directly on a path, so it matches and fits the current drawing, while the profile window is for designing the overall character a line should have, regardless of its use, and which you save for later use in other contexts. There can be many application scenarios, involving both a fountain pen profile or an organic profile for other types of illustrations, where you must view the profile linearly, horizontally. As said, entirely different purposes.
Serif's profile window, through its tiny size and banal functionality, is completely unusable and insufficient, and it likely wasn't created for the above purposes.

In the past software was developed with the focus on providing a service to the customer, without ulterior motives, companies benefited merely by selling a product.
Now software is developed to provide some use but the companies have ulterior motivation, not just sell a product but, force users into a relationship that that keeps on giving to the company. They accomplish this in numerous ways, including captive audience for advertising, regular payments ie subscriptions, locking users into cloud storage plans. 
Gone are the days when purchasing software is something that users can benefit from for an extended period of time, without maintaining connections in one form or another to the developer. Now, vendors have business models where they reap the benefits whenever the product is accessed, or in some cases whenever the computer is turned on.
All the big software companies do this, why would Canva be different?
Serif was a cute non-invasive company striving to deliver a great product.
Affinity products will now probably slowly evolve to follow pack.

I'm seeing some pretty bad algorithms at play—if Serif is lucky, it's just bugs, but I don't think so. As I said, I don't want to test this for Serif, but curiosity did drive me to check it out on a rainy Saturday.
For example, I notice a terrible lack of beautiful curves and almost sharp node-like edges, which when expanded through the stroke algorithm turn into miserable curves that curve in various ways. Horrible. All the beauty from the bezier universe, gone. One does not work with bezier curves to destroy and spoil their aesthetics. The entire curve becomes overall artificial and inorganic, significantly worse than competing line width tools, not least because of the microscopic interface.
However, a note for Serif, when they need to—and they must—refactor the chaos we see today, if I choose 'Fit to curve delete node' on selected nodes on the terrible result after expand stroke, then the curves are somewhat repaired towards what I would expect directly from the tool.
So, upgrade the algorithms and make their output consistent, and compare both output and interface with the competitors', please. Or as a first move along with Canva, recruit or book a true bezier specialist. There is no shame in acknowledging one's limitations. Only in not acknowledging them.

I am very excited for this tool, while also strongly agree it is not usable at all in its current form. There are serious long standing bugs with the profile curve that create terrible looking distortions. This potentially great new feature just can't be the feature it needs to be without addressing the other issues.
I hope that Affinity will take the time to get it right even if it requires a 2nd beta cycle. Please take a look at something like Inkscape's version of this feature called "power stroke". It has perfectly smooth curves no matter how extreme you expand the points, you can also change the smoothing algorithm and the scale factor for the curves.

I'm  waited for this tool. Currently it is unacceptable. Changing the width of the line causes patch glitches. This is not a rendering error, after converting the stroke  to a shape is diffrent. But before and after expand stroke, the result is bad.
Before expand stroke (doesn't look good?😞

After expand stroke (?):

I have different opinion about inkscape. I find that the recent versions are quite user-friendly and intuitive.
I use both Inkscape and AD in context of web illustration & design (not printing), and there are tasks that are much easier and more productive to perform in Inkscape, and vice versa.
Inkscape is particularly powerful for working with SVG formats where it read & write natively.
As an open source app, of course it still far from Blender level quality, but still closer to Krita.

I can't find any useful energy at all in continuing to be pessimistic about this. Canva has stated they want to enter the enterprise professional market. This is a play at competing against Adobe in this space. In order for them to do that they will need to invest heavily into the Affinity set of tools to bring it up to being on par or better than what the professional enterprise clients expect from Adobe.
Yes, some acquisitions end badly, but not all. Many flagship products of companies were former acquisitions as well. Affinity was over extended with their relatively small team. The resources simply were not there for continuing ambitious ground breaking new features or simply keeping pace with competition or even attending to the enormous backlog of bugs that extend back years.
They have made commitments to the most important concerns people have raised. Will they keep them? Well even Serif killed their former product before Affinity so nothing is ever guaranteed in absolute terms, but it is the best we can expect. It simply is not helpful to demand they make a promise of a perpetual license and then when they do so to state, well I don't believe you.
Maybe it is time to focus on the features they could now deliver that wasn't possible before and how this could be beneficial to us all.

is one I know for sure, they integrated smartmockups in canva and left anyone else who was using them in the dust "use it with our canva or bye".
This is the reason I'm afraid of what the future holds, if they really keep everything separated and the way it is (more or less) I have not a problem and I'm fully committed to support the whole thing, but I'm skeptical for now and only time will tell.

I never said it was not subscription, I specifically said that they pulled the site as it was and now you can only use the mockups though canva, that is you can't download them to work in photoshop for example.
The "canva website" means use only with canva withing canva. And the smartmockups are no more.
 

Not true, smartmockups was always subscription and the full statement says all continues on the Canva website.
”Since 2021, our team has launched mockup tools in Canva with similar functionality to smartmockups.com.”

The following feedback about the new pencil curve algorithm is provided under the assumption that the new pencil curve algorithm also powers the Smooth Curve tool, which needed enhancement. In my opinion, the Smooth Curve should convert an original curve into a simplified version with the fewest nodes necessary, while maintaining a perfect overlay with the original at a 1:1 ratio. This approach not only reduces file size but also optimises curve management, making it easier to modify (add or delete nodes) and use in boolean operations, ultimately improving both functionality and appearance.
I conducted two tests using the 2.5 beta versions of Photo and Designer, starting by creating a sharp shape with the pencil tool. I manually converted some nodes from sharp to smooth and attempted to simplify them using the Smooth Curve Tool. After selecting all nodes (both sharp and smooth) and activating the tool, a section containing sharp nodes was inadvertently removed, which was unexpected (please see left section of attached image)
Although the tool effectively smoothed the remaining nodes, I had to click it approximately 10 times to reduce the node count. This repetitive clicking, necessary in the previous version to simplify the curve, was much more improved in this beta, as fewer clicks were required to achieve a marked reduction in nodes.
However, to further optimize the curve, an additional 15 clicks were needed, which did not always yield the desired nodes. I also noticed some closely duplicated nodes remained, and the altered shape of the curve no longer matched the original at the expected 1:1 ratio. This indicates that the nodes left are neither minimal nor optimal for accurately drawing the original curve.
I am hopeful that refining the curve algorithm will be a priority in future updates, particularly enhancing the pencil tool’s Smooth Curve and Line Width Tools. I look forward to these improvements and the eventual capability to accurately simplify curves with minimal manual intervention.

A5 flier, all done in Designer and Photo apart from the  5 star logo and Chef along with Gary's image. Colour laser printed (20 A5's for double sided Perspex table flier holders)(3 A4's for notice boards) (1 A5 emailed as an attachment to the membership)
 

Enhancement using Bevel/Emboss filter effect. Mainly I used inner bevel.

@AffinityJules @iconoclast @firstdefence @carl123 @v_kyr @TrentL Here is the version of the composite. I updated the look of the fog, updated the outfit on one of the characters. I also fixed a few minor errors I never noticed before from the reflection effects.

Hope you all like it.

Hello! This is my first time posting and using the software. I have been using the alternative for many years and decided to give this a try. I found it challenging at times, but also in love with it too. I will look forward to creating more art in the future. 

Project "Artemisa", coming this April 2024.
Get ready to vote soon...

Thank you @Alfred. I often get dark thoughts with my mental health condition and neurological issues. Last night was a very difficult one and expression through creation was a way to get some distance from my darkness.
No offence was intended but it's expression in creation helped by freeing me, a little, from the overwhelming sense of fear and despair that accompany my condition.
Create something beautiful out of darkness and then take stock of oneself. I am holding on and am practicing self soothing techniques and taking rest.
My state of mind is proving difficult to deal with but I am weathering the storm and allowing it to pass over me.
I may disappear for a while on here but will continue to practice my coping strategies.
I will hide the thread if you think it inappropriate.
@SolidSnake2003 Thank you for your comment. Creating it gave me a little leeway and allowed me to acknowledge the way I felt.
Sometimes creativity can help with voicing ones feelings and allowing a sense of accomplishment which can be part of the process. I will seek support if things do not improve.
I'm glad you think it looks cool. It's nice to know that something simple can still be made in the darkest of times.

Sometimes I use creative outlets to offload how I am feeling and hopefully separate myself from the intensity of negative thoughts and beliefs. This can provide respite for a little bit.
This was created in Affinity Designer using artistic text, clip art, Styles, and Quick FX.
Strangely, looking at the product actually helps, as it externalizes the thought in some way and makes it less overpowering and reminds me to practice some self care.
 

 

Serif is working on a modern version of Fonthill Abbey, but if they don't seriously slow down and correct mistakes, architecture, and refactor a lot, I now truly understand how big the problem is after trying the line width tool in the beta of 2.5.
https://en.wikipedia.org/wiki/Fonthill_Abbey

I agree with you completely, more or less. My question was also more to illustrate my despair.
Agreed. From cringe-worthy to embarrassing and back again. And completely bypassing professionalism and visible market shares in the truly interesting segments of the market. I mean visible, measurable, real, where people outside this forum and the marketing know Affinity, and the programs play a role.
I don't believe so, but the hype created by many without a professional background—especially the numerous online 'reviews' claiming these are Adobe killer programs—has turned the hype into a bunch of bullshit that got out of control, which Serif has ridden without trying to regain control. It seems like it eventually ended with empty words and programs that can't live up to it. If Canva continues with Affinity on this track, then it's definitely not a safe ship.
If Canva doesn't start a professional revolution in Nottingham, then I don't believe the products have a future other than being acquired functionality for Canva, which again are completely irrelevant products for the segment of creatives I'm talking about.
So, I really hope Canva protects Affinity as a suite and elevates it after a thorough self-education on what it takes to break the bubble and improve the programs and reach the customers they've mistakenly believed they were communicating with for years. They missed the mark completely.
And I can see that customers I have had something in common with for a decade have tried to awaken Serif and talk sense into them here. A lot of wasted time for a lot of good people, I hope Canva can make it worthwhile anyway. But I doubt it. Miracles are few and far between, but loud market sellers are just a short distance apart.

Hi All,
I'm pleased to let you know we have now added a Line Width/Pressure Tool and improved stroke/curve drawing and closing to Affinity Designer - available now in the 2.5 beta...
 

Apps: Designer
Platforms: macOS, Windows and iPad
We have made some further improvements to the pencil tool.
Firstly we are now using a new curve smoothing algorithm which we believe gives general better, smoother, results when using the pencil tool.
Secondly as has been commonly requested we have now changed the "Auto-close" method so that when you have that option checked in the context toolbar the curve only closes when you are near to the start point of the curve being drawn. You will now get an indicator when you are in range of the start position of the curve so you know when a curve will be auto-closed.

Variable fonts
Apps: Affinity Designer, Affinity Photo, Affinity Publisher
Platforms: All
You're now able to use variable fonts in all Affinity apps, providing a plethora of new typographic design possibilities.
As well as providing predefined font styles, such as light, bold and condensed, variable fonts give you fine control of specific design aspects known as axes of variation, or just axes for short.
To try out variable fonts in Affinity, apply one to some text and then:
- On desktop, click the Font Variations button on the context toolbar (or on the Character Panel).
- On iPad, tap the arrow to the right of Bold/Italic/Underline/Strikethrough on the Text Panel and then tap Variations.
Variation settings on desktop.

 
 
Variation settings on iPad.

 
You'll see settings for each axis that the font designer has made individually adjustable.

Axis' slider being dragged.
Many variable fonts allow you to adjust their width and weight axes, and possibly italic, optical size and slant. These five axes are common enough that they're defined by the OpenType specification.
All manner of other axes may also be adjustable, such as:
- the height of ascenders and depth of descenders to better fit your chosen line spacing.
- the stem terminals, to choose between straight and swelling.
- the width of counters, which are enclosed and partially enclosed spaces within glyphs.
For examples of other possible axes, check out the axis definitions that are available for variable fonts at Google Fonts.
You may see fewer axes in Affinity than are mentioned by a font provider's marketing. For example, Google Fonts lists 13 axes for Roboto Flex and Affinity exposes five of them. This is because we respect font designers' ability to specify that an axis should be hidden. This is part of the OpenType specification and means that software isn't meant to provide an interface for such axes.
Why would a designer do this? Well, a variable font might adjust an axis internally based on your choices for other axes that you can directly adjust. For example, observe how counter widths change when the weight axis is adjusted in the animation above.

Variable fonts and PDFs
PDF doesn't support variable fonts. So, when you export a PDF of an Affinity document that uses a variable font, we create a static instance of the font with fixed settings.
We've taken steps to ensure static instances of fonts are well named. You should find this minimises the need to identify the original variable fonts if you later import or place the resulting PDFs.

@SrPx,
You're right. But it also happens that due diligence is carried out improperly, which may unnecessarily inflate costs. Calculation errors can also result in unrealistic synergy targets being set, and investors and analysts will certainly miss milestones that have not been achieved. This type of pressure makes building a new organization and simultaneous stabilization of existing structures even more difficult.
The decision to merge or take over is usually dictated by specific reasons. Among them, four main groups are most often mentioned. These are the motives:
technical and operational
Technical and operational motives aim to increase the operational efficiency of a given enterprise, including: increasing the efficiency of business management and reducing operating costs.
  financial
The most common financial motives include increasing the debt capacity, tax benefits or the use of financial surpluses.
  managerial
Taking into account managerial motives, the main ones mentioned are realizing the management's ambitions, increasing prestige or greater freedom of action.
  market and marketing
The most common market and marketing motives include eliminating competition and increasing share in a given market sector.  
Now, the Kingdom👑 and the horse🐴 go to whoever knows Canva's real motives in taking over Serif.
Because I'm not particularly convinced by the argument that they want to compete with Adobe on the professional software market by using Affinity programs.
Which, let's be honest, cannot be compared to Ai, Ps, Id in terms of functionality, quality and stability.
It will take many years and a lot of cash and a change of mentality will be needed for Affinity to develop enough to compete with Adobe.
For comparison, a small table↓

The last but not least important thing that is worth mentioning is that the increase in the return on the acquisition investment is very much influenced by the initial market reaction. And I don't see much enthusiasm here after the announcement of Canva's takeover of Serif and the Affinity program line.