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🇬🇧 Hi, in 1970 Bob Moog and Bill Hemsath introduced the Mini Moog Model D, a sound revolutionary at the time and still today. Little tribute to this wonderful machine with these illustrations. I had to “slightly” modify the height proportions so that the whole thing fits in a 5120 x 2880 px format!… 🇫🇷 Bonjour, en 1970 Bob Moog et Bill Hemsath présentèrent le Mini Moog Modèle D, un son révolutionnaire à l'époque et encore aujourd'hui. Petit hommage à cette machine merveilleuse avec ces illustrations. J'ai dû “légèrement” modifier les proportions en hauteur afin que l'ensemble tienne dans un format 5120 x 2880 px !…

My latest picture quiz round. Tv set created in designer. 20 placeholders inside the TV image for the images. All images converted to B&W and a levels adjustment on the majority of images. I created masks to obliterate the backgrounds in the images to take away the fussy details. in APhoto. designed on an A4 will be enlarged to A3 one per team on the night. Comments on the creation and final (almost) presentation as always are welcome. have fun with identifying the faces. As always I look forward to @William Overington blistering observations which are 2nd to none

🇫🇷 Hi, below the three keyboards of the brand apple all in vector. Can be practical for tutorials with each independent key. The following typofaces were used: Avenir, SF Compact and SF Pro Display. These typofaces are free of rights. Screen prints are made with characters. To view the many characters (more than 5,000!…) of the SF Pro Display font, the Symbol SF (free) application is very practical, but the Codepoint utility (€9.99) is perhaps more effective with more than 70,000 items!… 🇫🇷 Bonjour, ce dessous les trois claviers de la marque pommée tout en vectoriel. Peut être pratique pour les tutoriels avec chaque touches indépendantes. Les typographies suivantes ont été utilisées : Avenir, SF Compact et SF Pro Display. Ces typos sont libres de droits. Les sérigraphies sont faites avec des caractères. Pour visualiser les très nombreux caractères (plus de 5.000 !…) de la police SF Pro Display, l'application Symbol SF (gratuite) est très pratique, mais l'utilitaire Codepoint (9,99 €) est peut-être plus efficace avec plus de 70.000 items !… MAGIC KEYBOARDS Apple.zip

I have created a phone mockup, and placed it into my file. I now want multiple duplicates of my mockup in my file, but change them up a little. Is there a way to duplicated this embedded file without all duplicates referring to the same embedded file? I cannot unembed it because I use it to replace the screen of the mockup. I cannot place it again because I made changes to the mockup for it to better fit in the context of my file. How can I duplicate it without it pointing to the same "embedded file"? Many thanks in advance!

I did a bunch of edits on dozens of layers, which I then exported as a pdf and also individual images through export persona. During the process, I also made a copy of the affinity file, then continued editing, saved the original project (File > Save), then opened the forked one, edited that, saved it (I was saving the project several times in between my edits, via menu.) Today I wanted to continue working on it, but all my yesterdays edits are gone. I cannot imagine how that could happen, as the time of the files having been modified is the late night time from yesterday, the time after I made those edits. How could they all disappear from both affinity files? I believe that the last edits disappeared only after I finally closed Affinity Designer app, because I switched between the two projects I worked on a few times - I saved one, closed it, opened the other, and the edits were indeed there. They however disappeared - all and on both projects - over night, that is, after I closed the app, apparently. Steps I took: I opened previously saved affinity project A I did some edits on it and saved it by going to the menu > File > Save project I made its copy in Finder under the name B I continued editing project A I exported its layers into a pdf I closed A and opened project B I made some edits, exported the layers to individual png images and saved the project I closed Affinity (there was no warning about unsaved edits, I made sure I saved the project before closing it) This morning I open A and it looks exactly as I left it BEFORE yesterday's edits - all I did yesterday is lost. Same for project B. System: macOS Ventura 13.6.4 RAM 16 GB Processor 3,1 GHz Dual-Core Intel Core i5 Affinity Designer 2.4.0

Saw this from a video from the affinity YouTube channel and wanted to know how this was done, since had asked and someone told me it was brushes maybe but they weren't 100% sure. So I wanted to know if someone knows how to do so and if you could show a small tutorial if possible since I wanted to test this on a project in affinity designer v2 and in affinity photo. Hopefully I put this in the area of the forums to ask for help.

Hi everyone, I recorded this quick tutorial on how to draw the Celtic Knot in Affinity Designer. I hope you guys find it interesting.

I was going to say that I am fairly new to the Affinity Suite but thinking back, I guess that I started in 2019. I have used all three extensively since I found them. I am another one who moved away from Adobe after many years, which I started when it was creative suite 3 and I upgraded and subscribed all the way along. I use Affinity just for fun now, since I have retired, but I still find much joy in being creative. I typically use Affinity to create images and whatnot for use in my 3D projects, as image wraps, and the like. I'll share two projects that share some assets. The first is my sardine can. I created this after I spent time drawing a clip art fish as a challenge to myself. I did borrow two assets from Pixaby - the tomatoes and the sailing ship. The second is my three fishes pub sign, also created in Affinity Designer. I sure am glad that I happened across the Affinity products. BTW, I am just posting to share my work and sort of introduce myself. I am not looking for critiques.

we are a company from Sri Lanka doing designing and developing. I'm personally loving affinity because of the how simple and easy to use this is my latest work check out

I want the Space Bar to invoke the Move Tool and to never invoke the Colour Picker, how to I disable the Colour Picker from appearing when I am using Space Bar to move? I have tried to search the settings and keybinds but Colour Picker is set to the key "i" for India and I am unable to find other setting related to this. Problem: I am experiencing an annoying bug or feature (I am not sure which) where when I use the Space Bar to use the Move Tool it sometimes brings up the Colour Picker instead. This is unpredictable, seemingly random, and totally disrupts my workflow, sometimes inadvertently causing me to change colours. As you might imagine, this can cause major problems on a complex design if the mistake is not caught. EDIT - FIXED: Error was caused by Alt key mousedrag, which is an alternate Colour Picker shortcut that I was accidentally catching on this particular keyboard.

I create most of the Quizzes for my local bowls club and I always l try to make the half time break quiz a bit different. Most of the time I just hash a picture quiz together with no shape of form but I thought of this design for the latest picture quiz. the 16 Box layout and numbers created in Designer. The rest of the work in Photo. I usually just pick images at random but sometimes with a theme. This one has a theme which once guessed makes the quiz even easier.

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)

Hi have a couple of issues around my workflow for creating repeating patterns. For this I need to align objects to specific points or rotate translate objects around specific points. 1. For vector fill tool, is there any way to set the tolerance? I can't find any in the settings and even a tiny pixel level gap results in the tool refusing to fill the shapes. Yes I can workaround this by constructing lines that go beyond and overlap but that will also mess up the repeating pattern.. 2. For snapping, is there any setting where I can limit myself to snapping to only the nodes? i.e I want to snap one line to the end of another line, but with 'Snap to object' enabled, I could snap to the line itself (which is great in some cases) rather than the end point. Is there a toggle available where I can only snap to node/vertex? 3. My eyesight is not great as used to be, is there any settings where I can change the colours or the thickness of the helper lines that appear when I click and drag to align objects? This is the setting I am using for snapping

Currently when resizing a selection, the selection resamples the nearest neighbor outside the selection. The result is that a resized image that has edged that have been feathered or blended into a gradient due to the algorithm used to resample when stretching the image. I'd like to suggest that the move tool gains an option to select the type of sampling algorithm used, with one option be none, to permit the creation of variegated flood filled rectangle based upon selection without the feathering/blending effect or utilizing a different sampling algorithm. This feature would be applicable to Photo or Design where pixel selections can be selected and transformed. The need for this feature goes as far back as early V1 days - I've found numerous reports of this problem with no suitable solution implemented.

I made this for a french festival using mix of vector & pixels with few time to do it. (Using affinity suite since V1, I will never come back to Adobe suite. Evreything is quicker, easier and fits my needs perfectly : focusing on creativity and not struggling and wasting time to make things work as it should.)

I like jaguars, they appear in my dreams. This is a work in progress. 100% vector, no pixels, no vector brushes (which aren't vectors). Most recent stage on top, vector outline view in the middle and jaguar in a virtual 3D frame at the bottom. After this, I will add hair texture with my Huion 620 Pro drawing tablet (not looking forward to that), which will make the vector outline of objects / layers difficult to distinguish. In my portfolio blog the various stages are included - https://communicats.blogspot.com/2024/03/vector-painting-of-jaguar.html In the bottom section of this blog entry you will also find tips on how to make working in drawings that contain a plethora of objects / layers less difficult and time consuming.

Hello designers, In this video i start from scratch using a pencil and pen, then take a photo of it and import it into affinity designer so we can make a vector version. You will learn how to trace an image with the pen tool and then create a background from all of the outlines and much much more. https://youtu.be/EYsoWbceM4w

At last! A comprehensive linocut tool kit for Affinity Designer! SAVE 20% WITH OFFER CODE 'ADLC24' >>GET IT NOW<< Love the linocut look but don’t have the equipment or space to do it justice in reality? This comprehensive tool kit contains everything you need to have a go virtually! It gives you a range of options from intricate brushes to fast and effective patterns and edges so you can create super-convincing digital linocut illustrations and woodcut art. The pack contains elements generated using real ink and linocut textures to ensure your artwork looks authentic every time. We got messy so you don’t have to! Grab the pack and start creating realistic looking linocuts and woodcuts today! Here’s everything featured in this all-inclusive linocut toolkit: Linocut Brushes: Create a huge range of realistic looking marks including; undulating lines, arrows, tapers, rounded, square and slanted ends and more – this pack has everything! Pefect for creating linocut and woodcut art. For use in the Designer Persona. Seamless Patterns Styles: Use these as a handy shortcut and fill large areas quickly and easily. The designs offer a huge variety and include a solid ink texture. Printed Ink Edge Stamp Brushes: Add an extra level of realism to your design with these border brushes. Sourced from real inked edges. For use in the Pixel Persona. 8 Ink Background Textures: High resolution, authentic ink textures. These are the perfect base for your design. The sizes of these vary but most are around 5000 x 3500 px. Supplied in Tiff format. A Quick Reference File: Use this PDF guide to navigate the pack contents quickly and easily. An Example File: The bug image – learn how I created the composition by backwards engineering it. Instructions: A very thorough guide on how to use the pack is included. This includes a section on how to create a design from start to finish. SAVE 20% WITH OFFER CODE 'ADLC24' >>GET IT NOW<<

Applying the states takes almost 5-7 minutes! I have to mention that I have 16067 layers.

Another one! You may know the old cowboy song, The Streets of Laredo, and you may even know of some other parodies, notably by the Smothers Brothers. This one is possibly older than the SBs'; writers' details in thevideo titles. All made in AD and Serif MoviePlus. (I came across this version on the Mudcat Cafe (https://mudcat.org/), a great source of serious and humorous songs, and a great forum too.)

I have a bunch of artboards, all different proportions and sizes. They all have the same background image, but the image is manipulated differently on each artboard. How do I swap the background image for another one and retain all the original image manipulations in all the artboards and without having to copy and paste to each artboard individually? For example: Thanks!

Hey folks, I've noticed a problem in Affinity Photo 2, affecting both iPad and desktop versions, where changing a layer's fill opacity via the FX options from 100 % to anything between 100 and 0 % doesn't hide the layers contents as expected. Instead, the contents remain visible 100 % at all times. This seems similar to a previously mentioned, but seemingly solved issue with the 3D effect in Affinity Designer, indicating a possible consistent rendering issue with layer effects and fill opacity settings. To reproduce the Bevel / Emboss visibility issue, follow these steps: Open Affinity Photo 2 on either an iPad or desktop and create a new layer. On this layer, draw anything using any colour of your choice. Apply the Bevel / Emboss effect to the drawn layer. Reduce the layer's fill opacity to 0%. Expected Outcome: The layer contents should become invisible, leaving only the Bevel / Emboss effect visible. Actual Outcome: Despite reducing fill opacity to 0%, both the layer contents and the Bevel / Emboss effect remain visible, suggesting that the expected change in visibility does not occur. I'm looking for insights or workarounds from anyone who has encountered this. Any feedback or suggestions would be appreciated. Cheers Dennis

Latest ticket template 9.4x 6.6cm. everything created in Designer apart from Elvis image and creating the page numbering in and printing from publisher. Size is designed to give me an n-up print of 9 to an A4 page on a colour laser.

Millenia pass and with Mark as its Emperor the Viltrumite nation grows from strength to strength. With peaceful expansion now on his mind, Mark reaches out to the farthest corners of the universe, discovering new planets and lost civilizations… not all are thriving. On one new planet, darkness has taken over, and its Masters have gone. A whisper calls out to Mark as he wanders the baron land, drawn to a castle in the distance. Wedged in its mighty wooden doors is a rusty old sword. Mark reaches out to grasp the hilt of this leftover relic. A sentence screams into Marks mind… “By the power of Greyskull, I HAVE THE POWER!!” Don't know why but I felt compelled to create this! lol Initial sketch - Artflow Inks - Clip Studio (I did attempt to ink in Designer with vectors, but just wasn't happy the results) Colours and Logo created in Affinity Designer. I also used Affinity Photo do to some liquify and fix elements. It's not perfect, but I'm attempting to create more!!!

🇬🇧 Hi, the interface of the three software programs in the Affinity suite seems very well done and quite productive. But everyone also has their own specificities in their workflow and the addition of a utility like Keyboard Maestro can fill certain gaps or innovate with advanced functions. In addition, KM knows how to perfectly replace many other utilities for macOS… 😉 As I am working on a document alternating between RGB mode and CMYK mode, I was wondering about the opportunity to be able to visually know, and without action on my part, the current color mode and the possibility of quickly changing it. to change. Unfortunately, AD does not indicate the current color mode and the procedure to switch from one mode to another requires a lot of clicks on the part of the user (from memory, on other graphics software [?], there is a simple and direct submenu within a menu, associated with keyboard shortcuts…). I haven't found a keyboard command for this function in AD!… The Keyboard Maestro utility has solid arguments for performing macros. This software is a marvel of efficiency and provides very valuable services, whatever the software used or the context. Below is a screencast of the KM interface in AD. Sorry if the action is rapid, but that is also the goal, to make it as transparent as possible. macros live.mp4 Attached is a set of two macros KM for AD. Affinity Designer Format de couleur RVB CMYK Macros.kmmacros.zip In detail, this set includes a first macro for the conversion to RGB and a second macro for the conversion to CMYK. The macros simulate the call to display the “Document Setup” dialog box (Command + Shift + P), a first click on the “Color” Tab, a second click on the “Color Format” Menu and a third click in this Menu on the desired profile. And a final press of the “Escape” key to close the dialog box. The initial position of the mouse is maintained during the macro. The two macros are displayed in a palette, in the form of a button, alternately, one replacing the other with the help of a simple toggle. When opening AD and a document, the last state of the button is displayed, the toggle being managed by KM (with a system variable). It is therefore up to the user to make their choice by clicking on the mode they want. In KM, everything is almost configurable. So, pallets have several options. Their positions are defined by the user, using the mouse while pressing the Command key. For the two icons which symbolize here the RGB mode and the CMYK mode are simple copy and paste of two small illustrations created with AD, inserted in the KM interface, on each of the two macros. There you go, I hope this post will give you ideas to perhaps further improve your workflow… NB: we can also add a function (clicks) to the macro to modify the profile of the “Color” Palette at the same time. Finally, porting this set of macros for AP and for AP is possible, you just need to modify the call up of the dialog box because the menus are different... 🇫🇷 Bonjour, l'interface des trois logiciels de la suite Affinity me semble très bien faite et assez productive. Mais, chacun a aussi ses propres spécificités dans son flux de travail et l'apport d'un utilitaire comme Keyboard Maestro peut combler certains manques ou innover avec des fonctions évoluées. De plus, KM sait parfaitement remplacer bon nombre d'autres utilitaires pour macOS… 😉 Étant en train de travailler sur un document en alternance entre le mode RVB et le mode CMYK, je m'interrogeais sur l'opportunité de pouvoir visuellement connaître, et sans action de ma part, le mode de couleur courant et la possibilité de rapidement le changer. Malheureusement, AD n'indique pas le mode de couleur en cours et la procédure pour passer d'un mode à l'autre demande beaucoup de clicks de la part de l'utilisateur (de mémoire, sur d'autres logiciels graphiques (?), il y a un simple et direct sous-menu dans un menu, associé à un raccourcis clavier…). Je n'ai d'ailleurs pas trouvé de commande clavier pour cette fonction dans AD !… L'utilitaire Keyboard Maestro possède de solides arguments pour effectuer des macros. Ce logiciel est une merveille d'efficacité et rend de très précieux services, quelque soit le logiciel utilisé ou le contexte. Plus haut, un screencast de l'interface de KM dans AD. Désolé si l'action est rapide, mais c'est aussi le but, qu'elle soit la plus transparente possible? Joint aussi le set de deux macros KM pour AD. En détail, ce set inclus une première macro pour la conversion en RVB et une seconde macro pour la conversion en CMYK. Les macros simulent l'appel de l'affichage de la boîte de dialogue “Configuration du document” (Commande + Majuscule + P), un premier click sur l'Onglet “Couleur”, un deuxième click sur le Menu “Format de couleur” et un troisième click dans ce Menu sur le profil souhaité. Et un dernier appel de la touche “Escape” pour fermer la boîte de dialogue. La position initiale de la souris est maintenue durant la macro. Les deux macros sont affichées dans une palette, sous forme de bouton, en alternance, l'un remplaçant l'autre avec l'aide d'une simple bascule. À l'ouverture d'AD et d'un document, c'est le dernier état du bouton qui est affiché, la bascule étant gérée par KM (avec une variable système). C'est donc à l'utilisateur de faire son choix en cliquant sur le mode qu'il désire. Dans KM, tout est presque paramètrable. Ainsi, les palettes disposent de plusieurs options. Leurs positions est définies par l'utilisateur, à la souris tout en appuyant sur la touche Commande. Pour les deux icônes qui symbolisent ici le mode RVB et le mode CMYK sont de simples copier-coller de deux petites illustration réalisées avec AD, insérées dans l'interface de KM, sur chacune des deux macros. Voilà, j'espère que ce post vous donnera des idées afin de peut-être améliorer encore votre flux de travail… NB : on peut aussi ajouté une fonction (des clicks) à la macro pour modifier en même temps le profil de la Palette “Couleur”. Enfin, le portage de ce set de macros pour AP et pour AP est possible, il faut juste modifier l'appel de la boîte de dialogue car les menus sont différents…