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Found 189 results

  1. Hi, team. On attached screenshot you can see word "HIERARCHY" with diagonal line on top. Tell me, please, how i can split "HIERARCHY" word by this diagonal line? Best, Andrew.
  2. I am creating digital negatives for use in cyanotype, salt print etc. printing. Part of the process involves applying a calibration curve. There are many books and tutorials on the subject but all refer to Photoshop for creating these curves and many offer file downloads (Photoshop .acv files) of curves to import into Photoshop. Is there any way of importing and applying these files in Affinity Photo?
  3. Windows 10, Publisher Build 145. I've noticed something about tight text wrapping around a curved shape that seems wrong, but maybe someone can explain it to me. Have a look at the first attached image. The text is 7pt Arial on a 9pt baseline grid. The filled blue circle is a layer that has tight text wrapping with a gap of 2pt all-round. The outlined blue circle - on the right-hand diagram - is 4pts wider and taller than the filled blue circle (observing the 2pt gap of the text wrap). As you can see, the text is further away from the circle at the top and bottom than it is at the right. I can understand why, for example, "hendrerit" below the circles isn't anywhere near the outlined circle because the baseline forces it to be further away, but I don't understand why the other text is so far away from the circle. The second attached image shows the same sort of issue but it looks a lot worse there. Can anyone explain why this is supposed to happen, or is it a bug? It just doesn't seem quite right to me. (I've also attached the afpub file in case anyone wants to have a play with it.) tight wrapping round curves.afpub
  4. I don't know if this has been suggested but I use curves a fair bit and particularly LAB for those really powerful wide gamut adjustments. The current graph only has a four by four grid which isn't anywhere near enough to lock in really fine changes. It would be really handy if it were possible to size these graphs too. It's something I'm used to in other software so I was expecting to see it here and (I assume) that changing the reticule is a five minute job for an intern. Resizing is a different matter because that carries other problems … but pretty, please with knobs and bells on (and a cherry on top)?
  5. The image below shows some curves I drew with the pen tool. How would I go about filling in the space in between each curve with a different colour? Here is an example of what I need: All help is appreciated. Thanks, Dan
  6. Hello Am trying to learn and achieve a logo copy by drawing curves and am running into issues. 1. Is there a better way to achieve this logo trace ? the figure 1 is what am trying to achieve and have drawn curves to match the underlying drawing. I propose to subtract curves from the underlying light grey circle to get solid bodies. 2. When I go and expand the stroke to add/combine the curves for subtraction - I get the figure 2 issue with uneven boundaries. Can someone help me with combining the curves or show a better way to achieve the result ? thanks
  7. what i'm thinking is another slider on the stroke modal window that controls how much the stroke is offset. on closed curves it would read outwards on one side and inwards on the other, or something like that, and i'm not sure for open curves, but it would be leftwards along the normal vector when moved to the left and rightwards when moved to the right.
  8. I have an open curve with a sharp end point and a smooth end point. I want overlap them without closing, but it closes the curve automatically. Thus, changing the handles of the node (because it has to covert it to either sharp or smooth after closing). Is there a way to disable auto closing of the curve on node overlap?
  9. Hello ! @Patrick Connor, @AdamW, @MEB and other team member, i just hope you are really taking it and resting and enjoying staying with your friends, family etc... and not touching your laptops for this week-end. i'm dropping something here for Affinity Publisher (and also the whole product line) but not expecting you to answer or contribute during the week-end, you deserve good rest. Well, this is a proposition i've been continually forgetting to log here. Using Publisher (but also Designer and Photo) in our workflow (for those who integrated it already before stable version) we often and even make massive use of stroke and tweaking it is part of our every day thing; i see there is possibility to set a stroke profile after playing with the curve thing to make its aspect fit our need; after doing that curve thing we can save the profile ... but i noticed this, the saved stroke curving profile disappears after saving closing the project (case 1) and we have to remember how it looked like and redo it my request is this, would it be possible to save stroke curve profile as application wide usable thing, like we continually do with colors/gradient palette so we can simply reuse it with old projects or when starting a fresh project ? i often watch the brothers from Design Art Studio, Olivio Sarikas and even @Bri-Toon tutorial on youtube and for each new projects they have to redo the line stroke profile tweaking over and over for that project, which you must admit is really time consuming. i would rather, setup a stroke curve profile, save it and know it's application wide (like color some palette) and not document based only and then simply select it in the stroke tab before i draw a new line, then draw my line using pen/pencil tool with that selected profile and see if it fits my desire, this will be helpful for those still using mouse technology and even for those using pen/graphic tablets lacking pressure sensitivity functionality to feel home but also to feel and work with less stress or see their head overheated trying to think or remember how this used to work or to be but just focus on their design and produce great things. Please make the curved stroke profile saving applicable application wide in Publisher and if it has the success it should have, then replicate/expand it to Designer and Photo. @firstdefence, @Petar Petrenko, and all others ... your inputs to round the corners of this idea/proposition is expected and will be of great help ! Blessings !
  10. Hello, my proposition is, we have an option to export curves to DXF or DWG. Im sure there are more people who not only use Affinity Designer for 2D graphics, but also for using its curves for cutting with laser or others. Sometimes i need DXF file for that, and PDF with curves is not supported by CNC. Obviously i can export it to svg and export by other programs, but its a way around this problem and not really a proper solution.
  11. Hi, I'm working a lot with the pen tool to draw smooth curves or straight curves, but I find myself a lot of times wanting to make one handle in a 90 degrees straight angle (no curve) leaving the other side smooth (curved). Look at the video of a simplified situation I have almost dayly here. As you can see there's no way (at least I know rightnow) to make one side of the curve 90degrees straight. Just to be complete: I know about boolean operators and masks, but boolean operators unfortunately result in a lot of junk anchors at the current version of Publisher and change the way the curve is build. That's not what I want. Neither do I want to use non-destructive methods like masks, clips, artboards or whatever. I really want to cut off the shape destructive without creating extra/different anchor points that messes up the shape. So in short: I'd like to cut of one handle or make it straight... 1) Is there a way to cut a handle, or making one handle a 'straight' one, leaving the other one curved? 2a) Is there a way to snap a handle to a 45, 90, ..., 180, ... and so on degree angle or set the rotation from anchor to handle by numbers? 2b) Right now I can't find a way to know if the angle is straight. Is there any way to know at what exact angle a handle is to its anchorpoint? If this would be possible that would make my day(s) how-to-cut-a-handle.mp4
  12. Hi, I'm placing an SVG file in Designer and try to convert to curves, but the menu item is disabled. This works perfectly with the same file in PagePlus X9. what am I doing wrong? Greetings, Sigurd
  13. I’m looking for a way to add new points in a curve by snapping to other points/objects on the iPad. In this case there are two curves with the endpoints snapped on the red stroke; I need to put two points on that curve exactly over the two endpoints, so then I could split the line into three pieces. On desktop this should be quite easy since you can move the cursor first, snap it and then put the point. Of course I want to preserve the current curvature of the stroke, so adding a point and then moving it to its destinations it’s not the right solution.
  14. Hello - Is there a way to visually differentiate between (real) Text vs Text that has been converted to Curves, when viewing in Outline View Mode? As it stands, I only see a "wireframe" outline of the text which looks exactly like the text that has been converted to path curves. In the first example below, the top is still text and the bottom have been converted to curves. This makes it difficult to understand which element group is actual text vs. paths when working in Outline View mode. Sorry if I've overlooked a function or feature. Otherwise, would love to see a feature like I'm showing in the second image where the text is solid black in outline mode.
  15. Hi all! I am writing you not as the usually nitpicky and potential Affinity-fanboy-who-lives-off-of-Publisher (I do currently live off of InDesign, so it would be only a matter of time, but things just may take a bit of a turn in my career path soon-ish), but as a prospective full-blown professional type designer and current type design teacher with some serious grievances to air; as you may guess, I recommend Affinity apps for most graphic design related tasks, and even though I vehemently tell all my students to familiarize themselves with type design packages (namely Glyphs.app, FontLab, RoboFont, etc.) and start drawing inside them right away, they are all more familiarised with all-purpose vector drawing packages when they begin studying type design, so, for those who may wish to go that route, I also make a point of explaining to them how to properly size their curves/paths in points, in order to correctly import them into Glyphs.app further on. Now, this usually works fine when using Adobe Illustrator, but when doing so with curves/paths drawn in Affinity Designer, some less-than-optimal results occur, as you can see from the enclosed screenshots. The result will always be the same (on both apps, mind you), either if I paste the curves/paths directly or if I export them into .EPS and import them into Glyphs (actually, Glyphs won't even let me try the latter – and gives me the enclosed error message, whereas .EPS content generated from Illustrator, whether pasted directly from the clipboard or dragged into Glyphs, will work just fine). If I export it from Affinity Designer into .SVG I will be able to import it into Glyphs.app without any missing nodes, but the scale will be way off, thus making the whole process needlessly complicated. I happen to be acquainted with Mr. Rainer Erich Scheichelbauer, from the Austrian type design studio Schriftlabor and the Glyphs.app development team, and I can put you guys in contact with him in order to work on fixing this issue. As for the recently released FontLab VI, I don't own it so I can't get into the compatibility with it for the moment in any authoritative fashion whatsoever. I did give their very feature-complete and stable public beta a go, however, and it seemed the interoperability was even more broken, so maybe you should chime in with Mr. Adam Twardoch from FontLab Inc. on that issue as well (though I'm guessing that FontLab's even more advanced curve/path drawing tools and its focus on über-pros – their app is expensive as hell, after all –, combined with their still less-than-elegant usage of – ugh – Qt, may mean that they don't care much about those interoperability niceties and would rather force their users to always draw inside of FontLab from the get-go). As it stands, Affinity Designer in standalone form (I have yet to test InkScape as a bridging app, but… I'd rather not, as it's even more cumbersome than AI) is completely unfit for type design purposes with Glyphs.app and, as such, I can't recommend it to my students at all, which is a pity because the price bracket and the target audience of both packages seem to be very similar. Do you have any insight as to what may be going wrong here (a non-standard/reverse-engineered or even standard and well-documented .EPS and .SVG implementation, just a bit gone wrong, perhaps?) and could you provide us with a tentative ETA for its resolution? Now, for some explanation on what each of these screenshots mean… Here we have the original outlines, all nice and dandy, without duplicate nodes or anything: And here we have the result of copying said outlines and pasting them directly to Glyphs.app and, as you can see, the scale is indeed correct but we're missing one node: Now, if we try to export a file into .EPS using Affinity and import it into Glyphs.app, we get this error message: Surely we'll get better results if we try using Adobe Illustrator, right? By opening the .EPS file in AI and saving it back, also in .EPS format but with a different name, and importing it into Glyphs, here's what we get, and indeed the results are better, as we get the correct scaling and all the nodes (plus some extraneous ones on the same place where Affinity Designer defined the first/main/closing nodes to be): For the sake of it, let's try saving both .EPS files, in their respective apps, into .SVG format instead and import them back into Glyphs.app… The result on the right was from the file generated in Affinity Designer, and the one on the left from the file generated in AI and, as you can see, AD got the scale way off but finally all the right nodes, whereas AI gave us the same result: Interestingly, if we copy the paths from the .SVG file generated in AI from the .EPS file exported in Affinity Designer and paste them directly from AI into Glyphs.app, we get the best results yet: So, all things considered, it seems the best course of action is to export the artwork in Affinity Designer into .EPS format (and not directly into .SVG, because, as I've just found out and pointed out in the thread title, Affinity Designer seems to mess up with the scaling factor when exporting into .SVG), then opening it on Adobe Illustrator, then saving it into .SVG format and, only then, directly copying it and pasting it into Glyphs.app. It's an effective but extremely convoluted process, which forces you to use AI anyway and kind of defeats the whole purpose of switching to Affinity Designer… :\ For your reference and… forensics, I guess, I am also enclosing the files used in the course of this test: p (generated with Illustrator from the EPS generated with Affinity).svg p (generated with Illustrator from the EPS generated with Affinity).eps p (generated with Affinity).svg p (generated with Affinity).eps test.glyphs
  16. Being a beginner, I jumped the gun on designing this. I had to split my poorly designed shadow. And now, I cant seem to combine it correctly without getting it all, well; wonky. Please help me finish this battle once and for all. How do I connect these nodes?
  17. Hey there :) Whenever I try to use curves in Develop Persona, the images I work on get these glitches and I can't see what the image is going to look like. Let me take you through my process, maybe I am doing something wrong... I open a RAW file into Affinity Photo (Taken on Canon 700d) I do basic edits under 'basic,' such as contrast, saturation, shadows and highlight (etc.) I then move over into 'lens,' and load a basic preset that I have created in there. I then move over to 'details,' and load another preset, and adjust where necessary. Then, depending on what I want to achieve with the image, I move over into 'tones,' and mostly convert to black and white. But whenever I try to use curves, the same thing always happens (Check the images below, but specifically the shadows in the second image) (Please note photograph is for explanatory purposes and is not the most striking image) Thanks peoples :)
  18. A continuing annoyance is that when I go to selected an existing node in Curves, AP creates a new one, with the result that the slightest movement makes the curve go haywire. A simple fix is a 'snap to node' where a click close to a node results in the node being selected rather than a new one created. Perhaps this feature could be selectable in preferences. Intelligently, this would take account of screen size and resolution (and maybe even eye-screen distance, such as where desktops are likely to be further away than laptops, which are further away than tablets). Tx
  19. Hello! Cannot find option to convert text in curves? How I can do it? Thx!
  20. Hello! Please have a look at the following image: https://drive.google.com/file/d/1O8yEvxtFKmYVeJZn5QgdxLKUXv_eRsdO/view?usp=sharing It's a low-res artwork of a neuron, often found in scientific contexts. The left part is the original image, the right part is the original image where black has been replaced by white (so that this image can be put on dark backgrounds). The right part is also the result of Photoshop, where I've simply used "Replace Color", chose full black to be replaced by full white, tweaked a little bit with the tolerance, and that's it. I'm having trouble getting the same result with Affinity Photo, unfortunately. I think the fact that the image is basically low-quality makes it a little bit harder. The goal would be to replace the black stroke with a white one, but leave the red color inside exactly the way it is, just like Photoshop did. Here's my first naïve approach using Curves: https://drive.google.com/file/d/140_HbrpTRi7PwpjuwgKQmbqCb6zA78k9/view?usp=sharing As you can see, I can keep most of the red color, but I'm getting some chromatic abberation around the red circle (why?). Second approach, using Gradient Maps: https://drive.google.com/file/d/1AwJtaEAy58O-O0ZWMno89S0sLIc1xbpC/view?usp=sharing The problem here is that I have to hit the same shade of red of the original image at any specific value point, which means I'm recoloring the red circle unfortunately. Any other approaches I missed, and which I could learn? I'd greatly prefer a non-destructive way (compared to Photoshop's) and keep using Affinity Photo/Designer (as always), so I'd be thankful for any help! Affinity Photo's Color Replacement Brush doesn't seem to work at all, it will try to do this: https://drive.google.com/file/d/101TrlMsApn2OfKwgkvKsM1bTs8M9-eEk/view?usp=sharing
  21. Just an idea. What if you had a curves-type control with colour wheel (like in HSL) input and output? Come to that, what other controls could use this interface? Tx
  22. Hi There, I'm tryin to fill a curves shape so it has a black outline and a white fill. This file though has curves and a fill already, so I'm not able to fill it any further. Changing the outline to be black by changing the fill is no problem. How should I go about doing this...? Lily.afdesign
  23. Is there a way to set grays in Affinity Photos? Many images I run across have color casts, normally I set grays, then blacks, then whites. Is there anyway to do this in Affinity Photo. So far the only way I see is to manipulate the Channel Curves.
  24. Hi. Is there a way to edit imported sag files? I made some sine curves in "Grapher" and exportet to PDF. I tried to convert them to curves, which did nothing. Same with SVG files. I want to edit them, so that the sine curves do not overlap the whole graphic. I want to crop it. The vector crop tool is just a rectangle, which does not work for me. You can see in the Screenshot, the yellow curves overlap. I want them to be just inside the speech bubble. Anyone knows how to do this? A just can't use boolean operations like substract, ect. They are greyed out.
  25. When I buy vector clip art with a commercial license it usually comes in the form of an eps file. Usually all the designs are on one "page". I am finding it very time consuming and hair pulling to isolate what I want from that. I can't "draw a box" around it because it selects everything (the whole "page"). Say I bought 20 cats. They are all on one main layer and I want only one cat. Sometimes I can click on something in the layers panel and when that itty bitty dot is selected I can then click on the cat I want and get one itty bitty little dot in the right cat to be highlighted. From there I can "show in layers". Then I have to hold down the shift key and randomly select a bunch of layers (we are talking so many I have to scroll a lot in the layers panel) and hope I got all the cat. Often I don't and then I have to go through the whole mess again. (Yes, I am smart enough to first group what I found that was correct and then label it so I can find that part again). And more maddenly, the entire cat may not be on sequential layers. But my question is, why can't I surround that cat and have it be selected. Even at the highest magnification I can not directly select on the image - it will select the whole page. Why can't I zoom in until just that cat is showing and then click on it to select just a piece of it? Like what someone here told me to do when I couldn't seem to select just one node to move (it was just moving the handles until I zoomed in a ridiculous amount so I could isolate the node itself)
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