William Overington

For the avocado you could try using the Tear tool (that is tear as in teardrop shape not tear as in to rip paper) On a Windows PC, one uses Layer Convert to Curves Then use the node tool to select the top node and use the tool on the toolbar to convert the point at the tip of the tear to become smooth. I do not know how that is done on an IPad. If you are stuck then Alfred might possibly advise on the iPad part. Either use that as is, or make a copy and try adding several smooth points between the lower point on each side and the stalk end, and move some, but not the ones at each end of the several points towards the central axis. I drew the tear shape with the point at the top, so I moved the additional points horizontally. I had a go but I felt that my fairly quick try did not improve the original that I had kept. Someone taking longer and a better artist might get a better result with the second part. William

@Josie Ah, I have just realized that this is an Affinity on iPad question. So using the file might be different from how one would use it on a desktop PC. I expect @Alfred will be able to advise on that if necessary. William

Here we go. One white swirl as a .svg (scalable vector graphics) file. In Affinity Designer File Place Then you could use the transform panel to resize it, then make the height smaller so as to give the view as viewed from other than directly vertically. William swirl.svg

I remember a similar swirl. https://forum.affinity.serif.com/index.php?/topic/154208-artwork-inspired-by-pantone-colour-of-the-year-2022/ William

I don't remember why I put them in that range. I expect that I had what at the time seemed a good reason for doing so. Looking at the two codes, I expect that part of the reasoning for the specific codes is that the binary representations of the characters for 6 and 8 differ bitwise from each other in three bit positions. Also I would have avoided 177 as it has two characters the same one immediately after the other. So perhaps with just two available codes in that range unallocated, it seemed a good idea to use them for Hi! and Bye! as they needed to go somewhere. William

Thank you both, I had not noticed your replies until a few minutes ago. What happens to what was originally in the frames please? What sort of things were in the frames? William

The codes suggested for the messages that are, when localized into English, Hi! and Bye! fit into the following list. http://www.users.globalnet.co.uk/~ngo/A_List_of_Code_Numbers_and_English_Localizations_for_use_in_Research_on_Communication_through_the_Language_Barrier_using_encoded_Localizable_Sentences.pdf I had forgotten to add them into that list. I have added other codes elsewhere, some for weather and some for metals. I need to either produce a second edition including those codes, or an addendum document, maybe both. William

Thank you posting Would you like to try an alternative W from two copies of V please? It would need the vertical and the lower part of the diagonal of the first one and all of the second one. William

There is reference in the story to an earlier discussion. Here is a link to the story that contains that discussion. http://www.users.globalnet.co.uk/~ngo/localizable_sentences_the_novel_chapter_017.pdf William

Looking at the picture on line I do not see a clear difference. When I opened the .afdesign file in Affinity Designer I could not see a difference. However, when I did a Control 1 and looked at it closely, I noticed a definite difference where the two colours are directly touching on the top of the cake. But is that correct artistically, surely the colour at the side of the cut icing would be the same as the top of the icing, or maybe the angle of the lighting would make it look different, but it is the same colour as the filling. So, well, yes, the colour of the icing is a different colour from the colour of the filling, yet I consider a bigger difference would be an improvement, but I am only a hobbyist at art. William

Though it could be me! William

Um ... er ... possibly. 😀 William

It is nice. May I suggest please that it would be improved if there were three colours rather than two colours, by making the icing on the top a deeper pink, like a flamingo, and then adding colourful stars like Carl suggests, but only on the top of the icing on the top of the cake, not on the side of the slice. I don't know if it is reasonably possible, but could the smaller edge of the slice be slightly curved so that it looks more like as if the slice has been cut from a circular cake? William

That is interesting, I had not thought about a possible issue in relation to the nature of the paper used to produce the mount. However, I had known, in another context of the existence of Solander boxes for document conservation, so there we are. https://en.wikipedia.org/wiki/Solander_box As it happens the frames that I use are the following. https://www.tesco.com/groceries/en-GB/products/308622478 They are intended for photographs. As it happens, for what I have produced thus far using these frames, (and with a earlier design of frames of a similar design yet thicker overall and with a less convenient to use form of locking furniture (I don't know the proper nomenclature, I just used that to convey the idea) on the rear)) the printed item does not actually touch the mount. This is because the mount is designed for a 10 inch by 8 inch photograph and I am framing customized one-off 7 inch by 5 inch greetings cards sent to myself. This does mean that the surface of the card is in direct contact with the clear acrylic window (is that the corrrect term?) of the frame. Does that present issues? I have preferred acrylic to glass on the basis of safety. However, your comments about glass are making me wonder. The greetings cards are customized cards produced using the following templates. https://www.papier.com/landscape-photo-313 https://www.papier.com/portrait-photo-315 Other templates are available, those two are both full field, some have plain borders, some have preset artwork alongside the customer-supplied image(s). https://www.papier.com/photos/photo-cards/ I place my own artwork on the front and where the greetng goes I delete everything there and add, often using the Garamond font, the title, a description, my name and the date. Some readers may have already looked at the following thread in this forum. Artwork for greetings cards The business also does custom prints using archival ink and framed. These, entirely reasonably, cost more. Basically I have been producing the customized greetings cards as I learn to use Affinity Designer. A longer term goal is to try to produce something good then buy a framed print that has been printed uaing archival ink. What I am doing is pushing the envelope with what are marketed as photo greetings cards to send to someone else, but as the printing is not acrually of a photograph but of a jpg file containing an encoded image of a photograph, a jpg of artwork exported from Affinity Designer produces good results, even though it is not actually a photograph. The staff at the business are happy for me to do this and have advised me on how to do this. I have been looking up about acid-free mounts. Well, I do value my artwork, I have found great pleasure in having hardcopy printings of what I had until a little over a year ago had in pure electronic form. I have no knowledge at present as to how to distinguish between what you term "cheapo frames" and, well, art gallery quality frames. I do appreciate that the hardcopy prints of the greetings cards, while of far better quality than what I could get on a typical (budget price) printer attached to my home computer, are not prints in the same category as art prints, they are not purported to be so. William

I thanked the gentleman for having asked an interesting question. William

Welcome to the forums. I have not understood quite what it is you want. Is there an 'existing colour' and a "new colour if I pick it"? So are you requesting an additinal panel or an additional scroll bar or something else please? William

A mini-survey, just out of interest please. Do people get hardcopies of their artwork or is it only pure electronic? The thing that has really encouraged me to try to produce artwork using Affinity Designer is that I can get good quality hardcopy prints. I do not have a printer myself. I get my hardcopy prints, without leaving my home, by using web-based facilities and then the hardcopy print is delivered to me by the Royal Mail postal service. I get frames delivered with my grocery order from the supermarket. So i now have a small collection of framed hardcopy prints of my original artwork that I have generated, usually output from Affinity Publisher, though the first two were output from PagePlus X7. One was the glyphs of a font that I produced many years ago, the other a large size print of one glyph from a font that I generated using an interactive art work, The Alphabet Synthesis Machine, in 2002, so, in fact, just text in a text frame for each of them. The prints that i can get that way are higher quality than I could produce at home using a typical home printer. So I am wondering if other people using Affinity Designer, and indeed other Affinity products, get hardcopy prints,wihether by using a printer of their own, or from a print shop, or from an online facility, or whatever? Also, are people producing artwork as stand-alone artwork or for inclusion in a document? For example, most of the artwork that I produce is stand-alone, though when I produce hardcopy as a custom greetings card then the greetings card has the artwork on the front and a title, a descriprion, my name and the month and year as text where the custom greeting would normally go. However, sometimes I have produced artwork using Affinity Designer for use in a pure electronc pubklication, such as these pixcture of the two sides of a design for a tote bag in a story. I am hoping to get such a tote bag made, even if just as a one-off though possibly get two, one to use and one so store away in new condition, but thus far I have only found one-sided custom bags in a one-off quantity. William

What does "ability to teather your camera to it" mean please? If Serif augmented the software as asked, how would it be used and for what purpose could it be used and what results could be achieved, in particular what results could be achieved that could not be achieved already in some way please? William

Thank you for your reply. I a now going to try, making notes here as I proceed. As I have almost nil experience of using Affinity Photo, I won't try linking through from Affnity Designer, but I will use Affinity Photo solo with the original jpg file. Open test_jpg.jpg Save as test_jpg.afphoto How do I get to do a Curves Adjustment? Look in the help file. So i need the Develop Pesona Develop Pesona chosen. I need the Tones Panel Where is it? Ah, there it is, amogst other things lower right in the collection of other panels at the right of the screen. Scroll the image over to the left and drag and place the panel onto the work area to the right of the image of the tree, sun and sky. Choose Curves by checkig the check box But I have only got a panel with a scroll bar, how do I get the whole panel? Ah yes, I can drag the lower edge down to get the whole panel. So, what do I do now? Oh, I have managed somehow to get just a grey horizontal bar. So, from past experience with the Transform Panel in Affinity Designer, I think I need to close it, then get it back and try again. Good, I found it in View Studio Tones and it came back open. I can't find the LAB part mentioned and I don't seem to be able to adjust the transparency. So post this and I request help please. William

Ah, look where one keying mistake leads! 😀 This discussion of omission got me thinking. So I made a small jpg file using Microsoft Paint. this to simulate a photograph that arives as a jpg, perhaps from a mobile phone, that is just "what arrives is what you have to use" image. The file is test_jjp.jpg So I wondered if I can make it partially transparent. Here is a one third size png image of my test design producef using Affinity Designer. I have not found a way to make the image in the centre and the image at the right partially transparent. So, is it possible using Affinity Photo? William

I was interested to read of the novel. Your post teminded me of the poem. As remembering the poem is in this forum about producing artwork, that has inspired me to think of how artwork could imply that effect. Have you noticed how people usually walk up flights of stairs, each foot omitting stepping on some of the stairs? The left foot goes on alternate stairs and the right foot goes on alternate stairs, but the two sets of stairs are distinct. So they coul;d be shown in alternate colours, left for red and green for right. But does each person put the left foot on the same stair each time? If not, then maybe two colours that do not suggest specific directions? If so, do some parts of stairs never get stepped upon? That reminds me of s design for the stairs of a tower with two sets of stairs, each in a helix but each helix separate from the othet helix. https://www.pariscityvision.com/en/europe/france/loire-valley-castles/chambord-castle/staircase https://www.youtube.com/watch?v=2gnlKd4OMHc&t=170 How could such a staircase be expressed using Affinity Designer? Maybe using an isometric drawing style approch? William

The theme of omission reminds me of this poem. http://inwardboundpoetry.blogspot.com/2008/03/629-railroad-station-wislawa-szymborska.html How can we express omission in artwork produced using Affinity products? Do we leave a gap for her in a queue of tickets? Or do we use particial tranparency so that the background shows through? Or what? Can we have a thread about Artworks of omission? William

@iuli It is very interesting how a typing error by me, having been seized upon, has led eight days later to me learning serendipitously of an interesting novel of whichI was previously unaware. Thank you for posting. Your post has also reminded me that I need to try to complete thr design of the clock and try to commission the building of the clock. William

If one does not change it, what happens if one exports the image to a graphics file or to a PDF document pleasr? Does it export as pure white or what? If say, one is sending the image to a print house. William

Earlier this evening I produced a drawing using Affinity Designer. As it happens, the reason that I was doing this was because I was trying to try out producing an image, basically as a concept test, using the palette made avaiable in the following thread, so my focus was on installing the palette and producing something using colours from the palette. https://forum.affinity.serif.com/index.php?/topic/159573-free-goodies-vizier-amenemopes-palette/ So i selected the bruah tool in the toolbox, chose the blue from the palette, and just drew, just using the default brush. Aferwards I checked and found that the width is 3.8 pt, which I preume is 3.8 points. As I am using 300 dots per inch and working in pixels I am not sure how many pixels there are in a point in this picture. But I cannot find what is the default brush that I am using. Is it a regular brush or is it a defailt built-in brush please? William