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Found 122 results

  1. As far as I can tell there is no ability to assign an "edit all layers" key short. I am working on a piece right now that would greatly benefit from the ability to have a shortcut for turning on and off edibility to all layers. Ideally this is another candidate for the right click menu structure I would love to see someday. (The ability to create our own right menu would be super stupendously marvellous) hint hint ;-) ... but I digress, If anyone can see where an "edit all layers" shortcut is possible please post here. Cheers!
  2. Hello! I just this morning got a tip from some site about Affinity Photo. I'm tired of paying for the subscription I'm currently have with LR and PS CC. I'm importing and fixing the most of my pictures in LR. Some of them, portraits for example, I also edit in PS. LR is easy and fast but I'm feeling that I'm not using it enough to pay the subscription fees. I can buy two Affinity Photo for the same money as a year of LR + PS. Is there anyone who made the switch who had the same workflow as me? Is Affinity a good replacement if I use LR? Any tips for a good way of cataloguing my photos as LR?
  3. I've recently started trying to use Affinity Designer and have run into a small issue. When I try to open an older Illustrator CS5.5 document with Affinity Designer, it doesn't bring in the layers. Is there any way to preserve layers from an Illustrator document?
  4. Hey all. I should preface my question with a statement: I've never been a heavy duty Photoshop user. I've got a CC sub, and use it to finish off photos which need skin retouching and cloning. Perhaps I'd use it more if it didn't seem so daunting, with the tons of ways in which a desired effect can be achieved, and the list continues to grow in that arena. Maybe I am assuming incorrectly, but I thought that Affinity was aimed at those who were familiar with PS, but that it wasn't necessary to be, in that tutorials would cover workflow, tools, filters etc.. And for the most part, the tutorials are an interesting introduction to some of these things. But thus far, I feel that they don't do a proficient enough job at really getting to the intricate how's and why's, like I'd hope they would. I figured that new software would have very detailed tutorials, rather than at the end of each one have someone say: "If you have any questions, please go to the forums". Not sure I see the point in doing tutorials unless they're really going to show the in's and out's of tools and feature or the UI etc.. Right now, I'm struggling to comprehend the philosophy behind why there are two seemingly redundant personas. Those being "Photos" and "Develop". I mean, is there really such a great gap between what these two modules have to offer as tools, that they couldn't simply be consolidated? For example... and what really confuses me, is how you start out with a RAW photo, right.. And then, you're presented with very basic tools for adjusting exposure, white and black values, temp and cropping etc. Great, but then when I go over to the Photos persona, I'm presented with not only pretty much the same tools, but advanced versions of them as well. And the rest of the kitchen sink. Why then, should I care about making any adjustments in the Develop Persona, when I can achieve the same exact thing (and more) over in the Photos Persona? If I'm way off base, please let me know why. Sincerely. Maybe I'm being thick? Thanks much... Doug
  5. I did a couple of searches before posting this topic. If I missed the already given answer, I'd appreciate a link to that topic. I'm still using Aperture and whenever I tried other RAW converters (except Lightroom, but I still like to keep my private Mac Adobe-free), I always missed a well thought workflow like the one i'm used to have in Aperture. But since Apple abandoned it and the new photos.app is close to useless for my intentions, I am looking into all other possible solutions. Like PhotoMechanic or PhotoSupreme, but I would prefer, how to say, just a better Aperture. All included: Development, Management, keywords, faces, places, plus lens correction and a real fine Editor like AP is. Now I'm just wondering: Have you guys any plans to create a DAM in Affinity style? Speaking for me, I'm willing to pay as much as I used to pay for Aperture on dvd or PhaseOne, I'm just not willing to get another "only RAW converting" piece of software. And you guys did a really awesome job in such a short time of development! Keeps me thinking, if anybody gets it done, it's Affinity Serif.
  6. I'm looking to replace Lightroom - it just isn't intuitive enough for me, and Aperture isn't around anymore. However, I DO need the replacement to provide an image management capability within the workflow so I can break up various projects by date, job, location etc. Can Affinity Photo provide this? I've looked through the forums and haven't found an answer for that. Thanks in advance...
  7. Hi, One thing I really miss in Affinity Photo (and Designer) is the ability to resize objects using keyboard only. Is there any way to achieve this? Regards.
  8. I don't know if this is possible. Today i do all my Photo-Editing in Lightroom, only for heavy composing purposes i switch to Affinity Photo (previous Photoshop ;-). Now... my LR/Affinity/LR-Workflow goes like this: - open the raw as psd copy in Affinity-Photo (psd becomes visible in Lightroom). - Do my work on the opened psd-file in Affinity-Photo. - save the work does forces the .aphoto Format, which is saved beside the psd. - Now i export the work as psd - what overwrites the previous opened psd - (which is visible in LR). - I make some virtual copys of the psd to do variations for the finish (i use all that develop stuff in LR for that) - If i want to do some more work on the file, i klick in LR on the PSD, and do the "show in finder" command. There i locate the .aphoto file and open it in Affinity-Foto for additional work. After finishing my work i do step 4 and 5. It may be useful to have a LR-Plugin that can handle the .aphoto directly. What do you think?
  9. Hello- I just finished up my AP trial and have a couple of general questions. Can anyone point me in the right direction for a simple but great editing workflow? I currently have my photos in the Photo app but I'm looking for a better way to organize them. Are there any free open source programs out there that you'd recommend or you personally use for batch processing? Looking forward to joining the forums and learning Thanks!
  10. I have been using AD to design labels and now posters for quite a big product range. There are graphical features that appear on each of these labels as a part of the branding. Currently I have been opening a completed file, copying the elements I need and pasting them into the new project file. Is this the only way of getting these elements into a new file? Is there a way of saving these graphical elements as a file I can drag into each new project? Perhaps keep them organised in a library type folder? This is probably a workflow type of question, but I am still green with how to use AD efficiently. Thanks for your help.
  11. Hi, All week, since AP came out of beta and into the Mac App store, I've been seeing how many of my normal Photoshop maneuvers I can accomplish in AP instead. So far I've been able to do what I needed. (I know there are plenty where I will still need PS for though, but that's not a bummer, just room to grow.) One thing I have to do A LOT is take a photo of a framed artwork and crop it to the exact edge of the frame. As you can imagine there is often a bit of warping / distortion that needs to be adjusted. Often I have to do a Transform>Distort where I am making a one or two pixel width distortion, and in Photoshop I can View > Hide Extras to temporarily hide the selection edges and the transform box edge highlights. This allows me to make those very minute adjustments without the transform box edge overlays obscuring what I'm trying to discern. So far I have not figured out how to do this in Affinity Photo. At best, the transform box edges disappear when panning the zoomed in document view, but this requires a lot of funky moves and memory based estimations, rather than the very exact method described above. So all of that is a lengthy way of saying: Can you make a Hide Extras feature similar to Photoshop? And I just want to say I've been waiting for a true PS competitor for a long time and AP seems to be the thing. I just recently uncoupled my comic book project from a monthly subscription into purchased software. Thank you very much.
  12. Right now you can hold +alt to break smooth lines when reshaping on a vector line between two nodes, but you can’t hold, say +shift, to reshape and smooth the two connecting points (basically the reverse of hold +alt). I find when converting artwork into vector, I’ll have more corner points that I want to smooth quickly by just reshaping the line(s). Or, artwork conversion creates a one handle node, so something like hold +control or +shift while reforming a line to form corresponding points to smooth would be wonderful. Right now, if the nodes only have one handle, broken handles (non-smooth) or no handles (corner point), I would select the line to form a handle (if it's missing), then select that point(s) until it formed a smooth node. It would be really efficient to just have a modifier key like +shift while reshaping the actual line to quickly form smooth both connecting points.
  13. Duplication is Command + J, Grouping is Command + G, which I find used a lot, yet they are “zoned” on opposite sides of the keyboard due to reach of each key with one hand (while the other is on the mouse or drawing tablet). Workflow commands like duplication, grouping, copy, paste would be much better UX wise to keep commands that are common to one side of the keyboard. (imo) So, suggestion is to make Command + D the default duplication shortcut.
  14. Consideration for having a larger delay before a window tries to absorb another on tabbing/docking of floating windows. Anyone that realizes the efficiency of Expose on a Mac will rarely have that many docked windows. By having windows constantly trying to merge right away while trying to get as much workspace for windows becomes disruptive. Or a check mark in preferences to turn the docking/merging off altogether.
  15. Hi, I would highly appreciate the implementation of savable views. In Mischief there is feature called Pins, where you pan and zoom the view to your liking and then create kind of a bookmark for this view on the document. These view states are saved in a palette for easy access: New View and the Views submenu can be used to recreate this to a certain extend, but an implementation more like Mischief does it, would be very useful for detail work in Designer and maybe even the other Affinity applications, in my opinion. Thanks for an already awesome product and keep up the great work! Polaris
  16. I noticed you can add an Affinity designer icon to the toolbar in the photo beta. It currently doesn't do anything but will this eventually allow you to open your current file in Designer or perhaps even more awesome, just switch to Designer view! Also to what extent will you be able to edit Designer files in photo or visa versa? Will it be like how you can currently embed documents into other documents and editing an embedded file will open up the correct application? I've already tried to put a Designer file in a Photo file and when I clicked on it it I was surprised to find that it opens! Its cool that it opens up in Photo but a little weird that I don't get Designer Tools. I can edit a gradient but some options are missing. It would be really cool if the tools and windows would just shift to Designer view or Photo view just like persona's do!
  17. Have I missed something here - or is this a known bug? Dropping an existing layer into the ´new layer´ icon when the green plus sign appear does not add a duplicate layer in AD 1.2. BTW: Really impressed what you guys are doing. BIG thumbs up!
  18. It would be better for layer and object management if 1. New layer would be inserted at the current location (currently selected object) in the layer stack. It is awkward to have to scroll, find and drag new layer where you want in the object stack after you create one when you have hundreds of objects. 2. There were a modifier key when creating new layer (like shift-click new layer icon) which would move all the selected objects to a new layer. That layer would be created at the current position in the layer stack (uppermost selected object, I guess).
  19. Scrolling through all the pre-sets can make the menu unwieldy. In the interests of tidiness can these have a drop down option to display them, or a pop up when you access that part o the menu. Rather than always there? Action in preferences?
  20. In Affinity + photo Is there any way you can bundle multiple adjustments to make a custom preset. I have a load in Aperture, some very particular and useful. A custom preset is great for ensuring a batch has the same look and feel.
  21. Hi, I've been trying out the demo version for a couple of days and wanted to applaud the team for a truly impressive effort in trying to bring the best of both (vector and raster) worlds. At the same time I couldn't help but feel greatly underwhelmed by user experience of Affinity Designer and would like to mention a few points and see both how users and the team feel about that. In short, I think by trying to so closely copy the UI of Illustrator and Photoshop, Affinity Designer is missing a fantastic opportunity to start fresh and IMPROVE on these programs. Great success of programs like Sketch show that users may not necessarily want *cheap* Adobe products, they want *new* kind of products that better adopt to their particular workflows. Hence I will use Sketch for example of what I'd call workflow-based UI and Illustrator and Photoshop as feature-based UI. Photoshop and Illustrator have evolved over decades and over 20 iterations, and with this long history comes a huge baggage of legacy where early GUI decisions need to be carried over from early versions for the sake of consistency (people generally don't like change if they are used to one way of doing things). Also each new version meant bunch of new features that kept piling up and needed to be squeezed into existing UI paradigm of panels and toolbars, and hence the product that is based around features is created, with each iteration being more powerful but also feeling slightly ever more bloated. By "bloated" I mean that everyone, especially creative people, want as little friction from the tools they use. Obviously one way to remove friction is to repeatedly use the product, but for example, even after using Photoshop for almost 20 years I still often cringe by the way I constantly need to shuffle between different panels, and toolbars: even if I can customize their position and what not, I am still forced to break my workflow in order to rearrange some panel, or click a certain button to open a subpanel with more options. In order to solve the problem of cramped UI Adobe has introduced, years ago, concept of Workspaces, which is kinda like GUI on top of the GUI, and while it does help ease the problem, Workspaces is a duct-tape patch and not a true solution, which is quite understandable given the size and legacy of a huge program like Photoshop (or Illustrator, or even worse example: Autodesk programs like AutoCAD and Max - compared to Autodesk's miserable efforts of managing feature bloat, Adobe is doing an excellent job!). On the other hand, a new program has opportunity to approach UI from different angle, and programs like Sketch (or similarly named Sketch Up, to continue analogy to Autodesk competitors) tried to focus on concrete task that user wants to perform and build a flexible dynamically changing UI around these tasks, rather than to simply group buttons into panels based on features. Now obviously it is ridiculous to compare Sketch to Photoshop, as it is a niche program that caters to specific target market and specific workflows (GUI design only), but there are a lot of lessons to be learned on how friction between the idea and the tool can be organically reduced if you start from clean slate and not by copying software behemots with over 20 years of GUI legacy: 1) Edit everything in-place to give more hands-on control over the effect. Example is the way Sketch gradients are edited directly on the object, vs. having to do it in a dedicated UI element separated from object. 2) UI adopts intuitively to users logical next action. You don't need to switch tools or modes if it's obvious what you will do next. For example: - one click at the object selects it and automatically turns into Transform mode. Double click will automatically turn into path editing (moving anchors around). - when you have a line selected and click on an anchor or bezier handle, you will automatically get into edit mode in Sketch because obviously direct click on a handle of a selected object means you want to move it around. Iin Affinity, you will stay in your present tool which means you are likely to start creating another line instead (althout there is a misleading PEN- pointer that leads to think that the following action will be anchor deleting). 3) Don't float feature-based panels around, but use several fixed positions for GUI. If you follow point 2) this means that GUI will adopt to what you do and you always intuitively always need to move your attention to the same part of screen when wanting to perform complex tasks. Another Sketch example is Inspector (a paradigm widely used by Apple products) which is a sole UI element that always adopts to whatever you are doing at the moment. So I know that whatever I plan to do, I only need to look to the right side of the screen and I will always have a RELEVANT tool set. 4) Modular and consistent functionality. By modular I mean the way different types of fills can be stacked one on top of another in Sketch, and controlled via extremely simple but powerful interface. Another excellent example of modular pproach is the concept of Modifiers in 3D Max, where you can basically start from a simple 3D cube and end up with a human figure just by applying a range of non-destructive modifiers (and a bit of skillful positioning of the points) and at any moment you can always go back to any step and modify it in a non destructive manner. By consistent I mean things like Styles which are common place in software packages to ensure consistency. Ok, hm... I'm sorry it's getting late here (2:30am) so I am starting to lose focus here. Back to the core point: I understand Affinity is going after Adobe users, but that really doesn't mean that all we want is cheap Illustrator + Photoshop. You can do much better by trying to approach the functionality from a new fresh perspective and I can assure you will get a faithful user base much easier by doing NEW thing than trying to copy everything 1:1 - because you know, making another Photoshop AND Illustrator in one software piece from scratch is HUGE amount of work. And people will ALWAYS keep comparing Affinity to Illustrator and Photoshop and be kinda pissed off because feature XYZ is misssing. By starting fresh, you can focus your efforts and be more effective in solving user problems with less actual work. Plus, don't underestimate your potential users: if you do things with fresh perspective, it may take us a bit of learning curve to get used to your product, but if early on we figure out that we are seeing a new better way of doing things, most of us will gladly spend some time to learn and adopt. Case in point: I liked Affinity demo very much, but it doesn't really solve anything that my Photoshop and Illustrator CS4 don't do (except dang retina screen support). Even if it's feature packed, and cheap, there is not very much incentive for me to buy, as it feels just too familiar to these two packages. Maybe I am minority here, but really would like to hear what other users thing on this. Good night :) N.
  22. Wondering about something... Yesterday, I was running some tests using Blender, Pixelmator and Affinity Designer (I hope it's all right that I mentioned a competitor's product here) to try to generate a PDF/X-3 file. Here was my process: Generated an image of a 3D scene out of Blender Saved as an 2400 x 3000 pixel PNG file (so it would be 8 x 10 @ 300 dpi/ppi) Opened it in Pixelmator to try the "soft proofing" feature and adjust the saturation of the RGB image for use in a PDF/X-3 workflow. Saved the PNG file as a 300 dpi TIFF. Created a blank 8.5" x 11" CMYK document in AD; imported the TIFF file. Realized that there were no PDF controls for exporting X-1a or X-3 files in AD at this time. Cheated; the apple print dialog box does allow for the exporting of AD documents as PostScript files. I own a copy of Acrobat 8 Professional so I reinstalled it on my Mac (2007 Macbook, OS X 10.7.5, 2 GB RAM, 2.1 GHz, 64 MB VRAM/Intel GMA 950) and for the interest of this experiment, Acrobat 8 DOES WORK on Lion. Distilled PS from AD on the PDF/X-3 settings. Worked like a dream. CMYK PDF/X-3 on my desktop. Now, let me comment on what was missing: 1) Pixelmator's soft proofing feature lacks a "gamut warning" feature so that when one pulls back on the saturation, there is no gauge (such as the appearance of gray pixels on screen as in Photoshop) to know how far to reduce the saturation. I made a ballpark guess--having generated images from Blender for use in my designs for a while--of anywhere from -20% to -33%--so it is not TRULY known if all the colors in the TIFF file were "in gamut" or not. 2) By using Acrobat Distiller, the goal was simply to be able to use AD in my design workflow to generate a press-ready PDF file. Not always do my jobs require InDesign or Quark. The majority of my Display and Exhibit work is done in Illustrator and Photoshop, but in many cases the final files are still delivered as Hi-res, CMYK PDFs which requires that the colors be brought into gamut. Incidentally, for this experiment the gamut used was "U.S. Web Coated SWOP 2.0". Having said all that, I have 3 questions. 1) Will there be a feature similar to Photoshop's "Proof Colors/Gamut Warning" combo put into either Designer, Publisher or Photo at a later date? If you troll through the 'net--particularly on Pixelmator and GIMP forums--a lot of designers state that this is the one feature that keeps them tied to Photoshop. 2) Will there soon be controls in Designer accompanying the export of PDFs so that we don't have to use Distiller (Distiller was just the easiest way, this can be done in GhostScript as well by invoking the "ps2pdf" API but it can currently only be done in the command line/unix shell on Macs)? 3) Is the feature set in Photo planeed to be more geared toward Photographers/Photo Retouching with more of the illustrative features in bitmap editing remaining in Designer? Either way works for me as I am also a Photographer but also think that others may have unrealistic expectations if Photo is not as fully featured as Photoshop and fail to see that between Photo AND Designer, that feature set IS realized. I hope I'm not coming of as a royal pain, but we've (the design collective who refuses to be treated like Adobe's ATMs) have been searching ever since this cloud/subscription nonsense started for a serious alternative to the software from the big red "A". I was already a believer in the gospel according to PagePlus and DrawPlus and feel very fortunate that, at this particular time, you guys are releasing the Affinity line for the Mac. Can't wait to try out Photo and Publisher. Quarian

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