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  1. From looking at some of the wildlife & landscape pictures in this forum there is no doubt that there are many talented photographers here but I find myself no better off in my use of Affinity Photo just by looking at these stunning pictures. To be honest I could find the same sort of pictures just by using Google. What would be nice is if the people uploading these pictures could supply a before and after picture and detail the steps used in Affinity Photo to get to the final results. That way I am sure mine and others use of AP to create these stunning photos could be greatly improved. Isn't that what forums like these are all about? Or am I missing the point and is it that professional photographers would rather not reveal their workflow in fear of increasing the competition in their chosen profession. Honest answers appriciated
  2. With these simple hatching styles you can hatch your vector objects in Affinity Designer or Affinity Photo. Affinity Publisher Beta seems not working yet (previews looks strange on my machine). DOWNLOAD: https://mensch-mesch.com/download/affinity-designer-schraffuren-hatchings/ With the red styles you can easily change the color of the hatching while using an adjusment layer recolor. Keep on drawin' Norbert
  3. I'm curious if anyone else out there is using Affinity products for making maps? These days , probably >95% of cartographers make their maps almost entirely within GIS software, but I was always frustrated by the limited options and lack of precision for controlling stylistic elements on maps in those software suites (both QGIS and ArcGIS), so I figured why not outsource the styling to Affinity products For those unfamiliar, mapmaking is not unlike standard graphic design. You have a document comprised of a bunch of different layers, some of which can be vector (like road lines, point data, etc.) and some of which can be raster (like elevation maps, aerial imagery, etc.). The only real difference is they are all encoded with spatial information. So what I started doing is using the GIS software just to compile and size (spatially aware trim/crop) all my different layers of geographic data, and then exporting a bunch of identically-sized layers that I then reassemble in AD / AP (i.e export a PDF of *just* the road lines, export another PDF of *just* the water body polygons, export a PNG of *just* the aerial imagery, etc.). As long as I maintain identical pixel dimensions for the exported raster layers, and identical aspect ratios for the vector layers, maintaining the appropriate map scale / size and reassembling the layers in AD/AP is trivial. Once I have all the data in AD/AP, I can take advantage of those graphic design features that GIS software could never hope to do, like advanced masking and layer blending modes, brush-based editing, pixel-perfect label placement (HUGE), etc. Another great thing is this method gives you ultimate control over design of the map frame and you're not stuck using the preset layouts and scalebars that are baked into GIS software suites. The included example is a map I made for my mother last Christmas of the area where her ancestors settled 150ish years ago. Its sort of like a modern take on the classic USGS topo map styles from the 50's-80's. (there are two typos I'm aware of, 'prairie' is misspelled in both instances, and 'convenience' is written as 'convenient' in the legend... if you see anymore, let me know!) cheers
  4. Inspired by the isometric grid 🙂 AD + AP 1920x1080, png 8bit
  5. These are fake album covers I made with Affinity Photo for the Album Cover Challenge thing. I also included the a simple logo I made for my project 674D55F3-4B1D-45C2-9FA9-180D4776B1CC.MP4
  6. Just a silly experiment which I was playing around with after half-remembering something I saw on a TV show. Nothing special, just thought some people might like to see it, and maybe it will motivate someone into making something better. (All the Live Filters I used on this really hammered my machine – poor little thing.) Note: In case anyone is interested, the globe was originally monochrome and the background was a full-colour photo, the rest was created in either Photo or Designer.
  7. Hello folks, My name is Dennis. I created this pixelated self-portrait a few days ago. Started it in Dottable, a pixel-art app on a mobile phone, then traced it in Affinity Designer with the grid snap feature. Then I added a few grunge textures over masked areas, imported it into Affinity Photo, and finished it off with LUT filters and monochrome noise for a subtle paper-like feel. I like how precisely the applications work together and that you can add pixel-based textures directly in Affinity Designer without having to change the application, it integrates very fluidly into the workflow. Anyway, I hope you like the result. Dennis aka MrDoodlezz
  8. Hi everybody, Probably a silly question, though still worth asking: how do you ad selections when you have already created one? Example: pick the Lazo tool and select an area of your image (or the Rectangular Marquee... Any selection tool really). Now select another area while maintaining the previous one intact. Just add more selections after the first one in the same image. In Photoshop you just hold "Shift" and keep adding selections. Second question: customizing the keyboard shortcut doesn't seem to work. When I insert a new shortcut, in my case "ALT + Backspace" to fill the canvas with the foreground colour, the software doesn't let me write the "Backspace" bit after the "ALT". I hope someone will be able to answer and clarify both my questions? Thank you in advance! Mauro P. S. I forgot to mention that I am on Windows and the last version of Photo.
  9. These are designs I created in Affinity Designer and Photo. Inspired by 70's Anarcho punk band Crass from the UK. I am using these for my attempt project called PIPE BOMB MEDIA. I'm the guy sitting in the "I'm Already Dead" image, I am also using the pseudonym "Manifest Destiny" for this project. I am a really big fan of this style and minimalism in general.
  10. I've drawn an illustration of a crocodile for no reason except too much time. 🙂 I'am working with Designer and Photo on a windows pc with a wacom tablet attached. The original photo was taken by vaun0815 at unsplash.
  11. Hi, I required Affinity Designer in november, so please bare with me. I saw Wonderwomen, a car and a plane made by really, really great artists. I have no intention to get that good, but to get better I need to share my work for getting suggestion and tips. I am at kindergarten level. Starting out with 2 courses at Udemy, watched dozens of youtube tutorials, and glad I got it so far. The fur on the head is kind of okay, the body does not really fit. thearms stick out too much, shadowing is pretty hard. THe eye is jpg, I was unsuccesfull in following 'art with Flo' . I can not get the mouth blend better, like the illustration from Deema Egerov. (I need other artists work trying to recreate to develop myself.) So if anyone has some time to get me some tips, I love to hear from you. Many thanks, Yolanda monster1F.afdesign
  12. Linking an image instead of embedding it, would be useful if you're working on different documents with the same file, i.e. a logo in a design phase. So if you change that logo it will be respected in every file it is linked. Besides that it doesn't increase your Designer file, that could be crucial if you're working with large files and make a lot of versions / copies of your Designer file. I think it's like the new version of the Photoshop Smartobjects (CC version). Would be great if this makes sense to you too and isn't too hard to implement. Thanks!
  13. Print Templates [ AFFINITY PUBLISHER | AFFINITY DESIGNER | AFFINITY PHOTO ] #1 Travel Agency Brochure DOWNLOAD HERE
  14. I love the aircraft from between the wars, they experimented and tried all kinds of airframes and paved the way for the aircraft we see today. One of those was the De Havilland DH 88 Comet. Three of these thoroughbreads were built for the 1934 air race from England to Australia. All done in Designer and Photo with oodles of Perlin noise in the background.
  15. Made with Designer and Photo. I went through the movie frame by frame for references and then came up with something that was a little modern but more anchored in the art deco design of the original movie. I also looked through Willis O'Brien's pre-production images of Kong since i wanted him to have a rougher look.
  16. Third magazine created with Affinity Publisher (and Photo and Designer). No Adobe products were used in the creation and proofing of this issue. There was a problem about halfway through the creation where Publisher 1.8 would seize up the file when saving and for whatever still unknown reason, the file could not be opened. All sorts of error messages. Thankfully there was a backup through Time Machine, although much work was lost. Paranoia set in and started saving copies every few minutes to several different folders. Sure enough, the same saving error occurred and file would be corrupted so I'd open a backup and kept juggling like that for half a day. Long story short, I reinstalled 1.7 and carried on with no problems. I did post the problem in the forums but the only semi-useful suggestion from another user was to try the 1.9 Beta. As my deadline was shortened by the problems I couldn't take the chance with the Beta version and reverting to 1.7 solved the problem. Still love the program despite that glitch (although there was much cursing during the crisis mode!). Before anyone asks, it was the magazine's publisher that requested the cover logos be turned on their sides. When anyone figures that one out, please let me know! As there are two covers, let me explain. It was decided that the two magazine titles were to be combined into one issue, evenly split (50 pages each). At the 50 mark, the pages are flipped upside-down. Not something I'm crazy about but then again, my job is to Art Direct and produce the magazine.
  17. For this years cards I wanted to keep it simple and almost in the naive style and I went down the family value road as a nod to my second grandkid. They are set up as slightly overformat in A4, as RGB and impositioned as work and tumble, page 1 and 4 and 2 and 3 are imported to masterpages in QuarkXpress with each card being personalized in the worksheet so I won´t bore you with that part. Twas fun. Now let´s see yours!
  18. If you so choose you can find out how by following this link to learn of the indirect way to do it. https://forum.affinity.serif.com/index.php?/topic/128285-colour-fonts-and-affinity-products/ William
  19. 20th of Februar 1962 John Glenn became the first American to orbit the earth in Friendship 7, for a total of three orbits... Two years after I was launched, now I feel old. 2D vector art in Affinity Designer with a heavy duty perlin noise background in Affinity Photo.
  20. Second full issue of Skin Art done COMPLETELY with Affinity Publisher, Affinity Photo, and Affinity Designer. This issue went smoother than the last and part of that is due to converting my library of Postscript fonts to Open Type (I posted earlier this year about problems with fonts in Photo and Designer and a bit in Publisher ( https://forum.affinity.serif.com/index.php?/topic/125130-strange-text-box-problem/&tab=comments#comment-688016 ). Happy to say that the proofing process with the printer went even quicker with a lot less technical issues. For those that are interested, it's available for order online and will be available in-stores on November 10th. Thanks again to Serif for giving me an excellent and professional alternative to adobe. Never going back.
  21. Red Bull not only have a pristine P38, they have, among other fantastic aircraft, a very shineeee Vought F4U Corsair. Somehow I just love the Corsair. Can you imagine in the board room of Voght....: "Hi guys, I have this big-assed engine on mah truck.... make it fly!" "Ok boss, what kind of armament do you require?" "Yes!" Done in Designer and finished up in Photo, the clouds are a mix of cloudbrushes and perlin noise, all hail the perlin noise.
  22. Journey to the edge of space. Considering it was a design by Walter Dornberger in the 40ties the X15 holds the speed record of Mach 6.1, a record that still stands today. Aircraft done in Affinity Designer and background with Affinity Photo and lots of gradients and blends, texture brushes, cloud brushes and lots of sweet, sweet perlin noise
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