Jump to content

Mark Oehlschlager

  • Content count

  • Joined

  • Last visited

Everything posted by Mark Oehlschlager

  1. Mark Oehlschlager

    [By Design] Blend Mode Bug in Live Filters?

    Follow up: If one leaves the Blend Mode within the Live Filter set to Normal, but then change the Blend Mode of the art Layer, one gets the expected results. Okay. So then, how are we to understand the function of the Blend Mode setting within the Live Filter?
  2. Mark Oehlschlager

    Problems with TrueType font "Bahnschrift"

    Bahnschrift looks like a copy of DIN.
  3. In Photoshop, when setting up template files for brand application mockups (generic books, bottles, boxes, etc. shot in perspective to which branded graphics will be applied), over the top of the base image layer I'm able to embed flat art as so-called "Smart Object" layers, to which non-destructive distortions and blend modes are applied to make the flat art conform to the shape of the 3-D object below. Once the Photoshop template file is constructed, It's a trivial matter apply new branded graphics to the 3-D object by double-clicking on the Smart Object layer, opening up the embedded flat art layer in a separate window, pasting in new flat art, then closing and saving the changes. All of the original non-destructive distortions and blend modes associated with the Smart Object layer get applied to the newly added art. Is there an equivalent to Adobe's Smart Objects in Affinity Photo and Designer? If not, is there an alternative Affinity method for creating the type of template files I've just described?
  4. Mark Oehlschlager

    Affinity Equivalent to Adobe PS Smart Objects?

    @Patrick Connor In the Adobe software, the utility of their so-called "Smart Objects" (specially defined layers that envelope placed or drawn art) is that non-destructive transformations, filters, effects and distortions can be applied to the artwork within the Smart Object layer. I suppose the affordance of the feature is comparable to what can be achieved through Affinity Photo's Live Filter Layers but with fewer restrictions. In the use case I described at the top of this thread, I suppose the addition of the Mesh Warp Tool to the Live Filter Layers menu would help a great deal, and I would appreciate this addition. However, would you ask the development team on my behalf what their thoughts are on how best to bring the equivalent of Adobe's "Smart Object" layers to the Affinity suite? Much appreciated. Thank you.
  5. Mark Oehlschlager incorrect values for artboard X and Y position

    @Patrick Connor @Ben Not sure I understand what problem exists here. As Ben wrote: If one is laying out a grid of artboards, what's wrong with using the align and distribute commands to align the artboards relative to one another, and be satisfied that the rulers will show a 0,0 origin in the upper left corner of the active artboard?
  6. Mark Oehlschlager

    Knockouts within Groups?

    Working with Designer on Mac OS X 10.13.16. How can one achieve knockouts within groups? For example how can one achieve the effect illustrated in the sample below, where the semi-transparent white text is knocking out the black bar to reveal the blurred photo background?
  7. Mark Oehlschlager

    Knockouts within Groups?

    It appears the best work-around solution to this challenge is @Alfred 's suggestion to duplicate the black bar, drag it below the stack, fill it with the transparent color of choice, and then use the live text layer to knockout the black bar (using either the Make Compound command or the Erase blend mode), thus revealing the translucent colored bar below. The benefit of this solution is that one can easily update/correct the live text without having to update two instances, or worry about aligning two instances of text.
  8. Mark Oehlschlager

    Knockouts within Groups?

    When I group the live text with the underlying black rectangle, and then apply the Erase blend mode to the live text layer, the text appears to knock out the black rectangle with total transparency. If I reduce the transparency of the Text fill color, the knocked out hole in the black rectangle becomes gradually opaque toward total black. I have to add a duplicate of the live Text layer and shift it's blend mode back to Normal, and then reduce it's opacity to get the translucent effect. See below.
  9. Mark Oehlschlager

    Knockouts within Groups?

    @Bri-Toon Another interesting work-around, thanks. But it still requires two copies of the live text: one to cut out the black bar using the Erase blend mode, and another to render the transparent white text.
  10. Mark Oehlschlager

    Knockouts within Groups?

    Well, that's one work around. Thanks. Here's another: I created duplicate versions of a live text phrase; selected one copy of the live Text with the black bar layer below and made a compound object via the Layer > Create Compound menu item, setting the compound mode to subtract (this knocked out the black bar); and finally selected the top copy of my live Text and filled it with 60% transparent white. I just wondered whether or not there is a more direct route like the "Knockout Group" feature within Adobe Illustrator's Transparency panel. You can see in the Illustrator screen shot that one can select the grouping of a single Text object and an underlying black shape (2 layers), and then check the "Knockout Group" feature in the Transparency panel to achieve the same effect. Fewer layers. Fewer moves.
  11. Are you running Time Machine on your Mac? Hopefully so, because at the very least you should be able to recover the last saved version of the file.
  12. @Ben I understand better now what you've intended. I can appreciate the usefulness of toggling back and forth between a User-Defined Center Point and a default Geometric Center Point. Still, the point of confusion for the user could be resolved by making a clear distinction between the two different center points. In this case the Center Point visibility toggle button in the Contextual Toolbar really controls the visibility of the User-Defined Center Point, not the fixed Geometric Center Point. Perhaps the simple correction here, for the purpose of clarity, is to alter the tool-tip label for the visibility toggle button from "Show Rotation Center" to something like "Show User Rotation Center", or "Show Custom Rotation Center", or "Show User-Defined Center Point".
  13. @wigglepixel @Ben I'm sympathetic to Wiggle's point here. The current behavior is counterintuitive and confusing. Each object should have one Rotation Center Point, either the default geometric center point, or the user defined center point, not both. If I move the Rotation Center Point for an object, I expect it to remain where I've placed it, regardless of whether or not it's visible. The Show Rotation Center button should simply show or hide the Rotation Center Point. If you wish to offer the user two alternative Rotation Points, they should be uniquely named, and separately addressable through clear and unambiguous interface elements.
  14. @fde101 Yes. Where InDesign files are concerned, saving a copy as an IDML file in addition to a PDF would be smart (hoping, anticipating, that Serif will eventually add an IDML import feature into Publisher).
  15. @Jan Prague @Moon12 It's not just the total spend (sending Adobe $50+ every month indefinitely) that is of concern. The other major concern is that you lose control of all of your own work product once you decide to drop the subscription. If you drop your subscription, for whatever reason, the Adobe apps that remain installed on your computer prevent you from editing, printing and exporting your own work product. Your files become read-only files. The only solution to this major problem is to proactively save all of your Adobe produced work as a PDF (which can be opened and edited with many 3rd party apps, including the Affinity suite), or to be willing to resubscribe to the Adobe suite for a month just to regain access to your old work product. This is perhaps the most onerous part of having to rent one's tools from Adobe, rather than owning a permanent license to one's tools.
  16. Mark Oehlschlager

    locating guides

    Jim, Go to View > Guides Manager ... In the resulting dialog box, you'll see the Horizontal Guides and Vertical Guides list windows. Click on the icons in the lower left of each window to add guides. Double-click on the new items in those windows to edit the default position. See attached images below.
  17. Mark Oehlschlager


    I've been working through the help files. Regarding Symbols, I've found two issues: The help files on the subject of synchronization are not clear. It appears that color and weight attributes for strokes synchronize, but the color attribute for fill does not. (EDIT: Color attribute does not synch for Shapes, but does synch if the Shape is converted to a Curve.) (EDIT 2: I've conducted a second test, and the synchronization does work for fills and strokes for both Shapes and Curves. I didn't understand how the Synch button was supposed to work. Perhaps the Help files could be a little more explicit.)
  18. Mark Oehlschlager

    Further ruler origin issues

    @Sean P Not an app developer, so always surprised when fixed or stable features are "broken" by updates. Does this happen because the lines of code for the various features and tools within the app are interdependent – intersecting with code for newly introduced features?
  19. Mark Oehlschlager

    Affinity Designer Customer Beta (

    @Dazmondo77 Ah. Thanks for the reply. I was wondering whether or not you had discovered the equivalent of Illustrator's Blob Brush in Affinity Designer. That would be ideal and the most direct route. Anyhow, great work!
  20. Just got the auto-update for Designer Love the Arrowhead additions to the strokes, and love the Appearance Panel with the ability to build vector objects with multiple fills and strokes. I noticed the ability to apply transparency to the fills and strokes of multi-fill/stroke objects, but could not find the ability to apply blend modes on an individual fill or stroke. Have I overlooked something? If not, would you consider adding this capability to a future release?
  21. Mark Oehlschlager

    Blend Modes for Multi-layer Fills and Strokes?

    @Old Bruce Ah! Yes, I see that now. Thank you.
  22. Mark Oehlschlager

    Affinity Designer Customer Beta (

    @Dazmondo77 Nice illustration. How are you getting the woodcut look? Is there a brush option that produces vector shapes, or are you simply expanding strokes and then merging them into unified vector shapes?
  23. I would like to request a vector brush like that of the so-called "Blob Brush" found in Adobe Illustrator. Brush strokes with such a brush would result in merged vector shapes rather than stroked paths. For some illustration tasks, this would save the trouble of expanding and then merging the current vector brush stroked paths.
  24. I've just tried using the Affinity Photo displacement filter and was surprised/disappointed to find that the displacement results are not smooth. Where a spherical black-to-white gradient should produce a smooth pinching distortion to the target image layer, instead I get dithered distortion that bears no resemblance the expected warping of the image. Am I missing something about how to use the displacement filter, or does this filter need to be redesigned?
  25. Unless I've overlooked something, I don't see that it is yet possible to define a vector brush with the same jitter and scatter dynamics available to pixel brushes. Have you considered adding the ability to define a vector brush from vector art with the same jitter and scatter dynamic parameters of the pixel brushes? If not, I would like to formally request this as a feature in the next available upgrade to Affinity Designer.