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Found 123 results

  1. HI, I'd like to better understand how to best implement an ACES workflow in Photo for 3D still EXR renders. My goal is to be able to work in the expanded colorspace that ACES provides for editing and be able to export my images for print (with an AdobeRGB profile) and web (sRGB). I'm currently using Octane as my render engine which at this time will only render to the sRGB primaries in linear EXR format. ACES is planned for the upcoming release however so I'd like clarification on 2 scenarios. If anyone has deeper insight into this I'd really appreciate the feedback. I watched the Affinity Photo OpenColorIO video (https://affinity.serif.com/en-gb/tutorials/photo/desktop/video/329071149), but trying to apply this process with ACES just added more confusion. @jamesritson this would be a great topic for another video! (also thanks for creating all of the tutorial videos, they're well done and very helpful!) Scenario 1: Converting a linear (sRGB) EXR render to ACEScg for editing and then exporting either an sRGB for screen or an AdobeRGB image for print As far as I understand it, there are three components to this process: Setting your color preferences OCIO config file to the ACES config (I'm using the latest 1.0.3) The 32-bit Preview panel Display Transform The OCIO Adjustment layers For the 32-bit Display Transform, what do I need to set it to in this scenario? With ICC it looks exactly as it did in my IPR in Octane. Following along with the video this would seem to be the right approach, but in the video he's using Filimc Blender which I behaves differently from ACES and I'm wondering in this case if this same approach (ICC display) works properly when converting and editing in ACES. With the 32-bit Preview OCIO Display Transform set to sRGB (view transform) and ACES (device transform) it looks darker and more green. (my screen is calibrated to sRGB), though the exposure adjustment behaves completely differently for OCIO / ACES and is much smoother as I would expect than when the DT is set to ICC. I'm assuming that the green tint is due to the fact that I hadn't added an OCIO adjustment layer. When I add an OCIO Adjustment as Source: lin_srgb, Destination: acescg the tone balances out, but the overall image is darker. I'm assuming that this is the look of the ACES transform on a linear sRGB image, but I'm not certain I'm setting this up correctly. For the OCIO Adjustment layers what would be the correct setup? From what I understand I need one OCIO layer to specify the input source type and destination type which I set as lin_srgb and acescg respectively. Then for the output I would create another OCIO layer and set it to the reverse?.. Source: acescg, Destination: lin_srgb? How would I export to AdobeRGB or another space like ROMM in this scenario? Scenario 2: Opening a linear EXR ACEScg render for editing and then exporting either an sRGB for screen or an AdobeRGB image for print I'm just future proofing here and bloating this post, but assuming that Octane updates this year with an ACEScg render option would I just append an 'acescg' siffix (my_render-acescg.exr) to the file and open it in Photo? Do I need to add an import transform OCIO layer to specify that it's ACEScg or do I just create an out transform layer? Finally 2 last questions: I'm assuming that all of my image adjustment edits will be done between the input transform OCIO layer and the output OCIO layer, please correct me if I'm wrong.. If I open a multi-layer EXR with multiple render passes, do I need to create an OCIO Adjustment layer for each pass layer or will one at the top be enough? Thanks for bearing with the 1000 questions here and I greatly appreciate any insight I can get on setting this all up correctly!
  2. Hi, Apologies if this has been covered elsewhere but am struggling to piece together a solution for my circumstances so any advice would be appreciated: I’m trying to move most of my editing workflow to my iPad (6th Gen). I haven’t used Affinity before (just PS Elements) but it seems like the best app for iOS. The difficulty I have is that I can’t store any of my images locally on the device (it’s a work iPad) so need a purely cloud based workflow. The images will be captured mainly on a Nikon D7000 and will be a mixture of JPEG and RAW (mainly JPEG). From what I’ve read, a mixture of Affinity for iPad and Dropbox seem to be the best solution for this, opening photos for editing rather than downloading them...is that right? Many thanks.
  3. JR Workflow Bundle: Shortcuts, Macros, HDR Tools & Brushes Hey all, I'm very happy to be posting this collection of tools that I hope will benefit your workflows in Affinity Photo! This toolset contains custom shortcuts, macros and brushes that are designed to enhance and speed up a variety of different workflows, from typical image editing to more complex masking scenarios, archviz scene creation, HDR image mastering/tone mapping and more. The bundle includes each resource in a separate folder and can be downloaded here: https://affin.co/workflow Here is a quick overview of what this pack features: JR Shortcuts Introduces a number of custom keyboard shortcuts designed to speed up image editing workflows, including: Layer manipulation: showing, hiding, rasterising, mask creation, fill layer creation, flipping and flopping, rotating. Layer stack manipulation: moving layers inside/outside of other layers, insertion inside for next added layer (great for clipping adjustment layers/live filter layers). Matting, filling with primary/secondary colours. Flattening the document, placing embedded documents/images. Quickly creating specific adjustment layers and live filter layers including Live Perspective on Ctrl+T. Pixel selections: selecting partially transparent, sampled colours, saving to spare channels. Rotating the canvas in 15 degree increments, resetting the rotation. Toggling various functionality panels e.g. Macro/Library panels, 32-bit Preview panel, Scope panel, Assets panel. Setting fill to 50% grey, resetting fill to black & white. JR Macros Provides a set of macros to speed up common operations that power users might use. These macros make extensive use of the Procedural Texture and Custom Blur filters as well as channel and masking manipulation to simplify what would otherwise be time-consuming actions. The available macros include: Compositing enhancements: shadow/reflection creation, quick tonal matching, easy layer merging and grouping. Automatic mask creation from layer content with adjustable black and white thresholds to tailor the strength of the mask. Useful for Z depth passes (3D renders) and depth maps (dual camera smartphone images). Fast alpha matte creation from white, green, blue and red backgrounds. Great for cutting out stock imagery non-destructively. Mask creation macros: create mask layers from tonal ranges, alpha ranges and colour ranges. Smoothing: Subtle Gaussian smoothing, both cumulative and luminosity-based, to reduce over- sharpening on stock imagery and out-of-camera JPEGs. Various filter masks: create edge detail masks from laplacian, laplacian of gaussian, directional, sobel and prewitt filters, as well as luminosity and LAB lightness selections. Selective sharpening, local contrast, high pass and clarity filters: quickly set up inverted live filters which you can paint onto to reveal their effect. Retouching Setup: set up frequency separation with multiple high pass layers and additional non- destructive retouching options (vibrance, tonal crunch etc). Channels to layers: convert channels to greyscale layers, mask layers and colour data layers. Channel isolation: quickly isolate red, green and blue channel data onto separate pixel layers. Curves with blend modes: quickly add an entire group full of Curves adjustments that use every blend mode available, allowing you to easily experiment with each option. Rasterise and Inpaint Alpha: quickly trims the canvas bounds, creates and grows a selection based on antialiased transparent areas, then inpaints. Great for when you want to quickly fill in alpha areas created by rotating an image (e.g. when you correct the horizon level). Red/Blue Channel Swap: performs a channel swap with additional user options for infrared imagery. 360 seam-aware retouching: HDR to SDR tone mapping, Clarity and Local Contrast. Tonal Painting layer setups: like dodging & burning but non- destructive with more flexibility. Architecture tools including line drawing retouching, 1-bit greyscale setup. Retouching tools including multiple high pass frequency separation and revealing dust spots/imperfections so you can remove them. Astrophotography retouching: detail extraction for deep sky imagery and general enhancement for wide field imagery. Filter Effects (part of JR Macros) Provides a set of macros for creative and functional filter effects. These include: Tonal compression for recovering contrasty images or expanding dynamic range. Technicolor (2-strip, 3-strip) and Infrared emulation
 Infrared channel swapping for actual infrared imagery with various controls to help produce punchy and vibrant results.
 Textured Mist/Cloud effects: combine with masking to add cloud texture to a sky, or give the impression of fog or haze on a landscape.
 Live Solarise: create a non-destructive solarise effect, control its angle and intensity, then use blending options to change the tones in your image.
 Halftone Effects including diagonal lines and continuous dots.
 Light Leaks with controllable positioning on canvas.
 Dissolve noise and diffuse effects to emulate a Dissolve blend mode. Shadow boost filter for softer, more natural shadow detail enhancement. Warm and Cool Tone filters as an alternative to the White Balance adjustment. Workflow Brushes Provides two new brush categories, Masking and Shadows, designed for quick access to suitable brushes for composite and architectural visualisation work. Masking brushes: Soft round brushes at preset sizes (64px, 256px, 1024px) with tight spacing and full flow. Ideal for consistent brush strokes which are required when painting on and off mask layers. Soft and hard edge variants provided. Textural brushes with dynamics to randomise X/Y spacing and rotation. Great for more realistic blending with cut out layers. Shadow brushes: Oval shaped brushes at preset sizes (64px, 128px). Saves having to create custom brushes with modified shape and rotation. Square shadow brushes for diagram and plan work. HDR Authoring (part of JR Macros) Macros to help author HDR (High Dynamic Range) content and tone map it to SDR (Standard Dynamic Range). The tone mapping to SDR and nonlinear to linear transform macros can be used with SDR displays—the other macros however are intended for use with HDR or EDR displays where the extended brightness values can be displayed. The macros include: Tone Map to SDR: performs tone mapping to SDR, providing user options like separate shadow/highlight mapping, brightness/contrast control and local contrast enhancement. Clamp Max HDR Brightness: restricts the headroom (dynamic range) of the HDR document and clamps it to a specified brightness value. Clamp Max HDR Brightness RGB Mix: as above, but with individual control over how the RGB colour channels are clamped. Filter Only HDR Values: filters through only values above SDR, which is useful for visualising the HDR values in a document. HDR Colour Map: visualises the HDR colour contribution and colour crossover with the ability to modify the threshold for the RGB channels separately. Nonlinear to Linear Transform Correction: Affinity Photo will typically use a non-linear view transform even when in a 32-bit linear colour space—this is so the user can see how the image or document will look when exported to a non-linear format like JPEG/TIFF/PNG etc. However, 3D artists will usually want to have a ‘linear’ look to their render so it looks consistent with what they were working on in their 3D software. Simply run this macro to add a Procedural Texture live filter that performs a gamma transform to achieve this. You can then export your renders to TIFF/JPEG etc and have them look correct. Linear to Nonlinear Transform Correction: included as a reversal to the Nonlinear to Linear transform above, applies a non-destructive non-linear gamma transform. ---- I hope you find the above useful, and in case you missed it, here's the download link again! https://affin.co/workflow Any feedback and/or suggestions are always appreciated.
  4. Hey all, I wonder if there is a way to move content over different sites. I created a document with an overview about products. Each of this sections (groups) on the page contains text as well as two images. When a new product has to be added it should be on position 1. This means I ideally like to move all other products over all pages one step down and insert the new one on top of the document. Of course the movement has to be precise so that the relative positions of the products over all pages stays the same. A screenshot is attached, which hopefully helps to make clear what my goal is. Is there a way to realize it without the need to move each and every of the sections manually? Thanks!
  5. Hi! I'm struggling to to do this – https://www.dropbox.com/s/npwdnrt7meqdax3/AFT_ScreenRecording - 20190702_1935.mov?dl=0 – in any of Affinity software. Am I missing something? Lack of a solid transform tool feels to me like a deal breaker. Best regards P.
  6. A very plain wish: When the focus is on the "Pages" panes ... it would feel natural to me to scroll through the pages with the cursor keys ... but by the looks of it there is absolutely no way to use keys to proceed to the next or previous page. Even enabling the "End" and "Pos1" key would be nice. Maybe this functionality could even be active if the the main window is active, you have the "Move" tool selected and there is no frame selected ?! Aside that I find it very hard to recognize what is the currently active page. This thin frame marking it is hardly visible - even harder, when the content of various pages is layoutwise pretty similar. So it always takes this extra-extra effort to find out on what page you are on in the page panel. Cheers, Timo
  7. Hey there, I am coming from softwaredev and really would love to see a fuzzy finder in Affinity where I can find all the tools by using just one single shortcut which opens the search bar. As a ref I just put in the fuzzy finder gif from GitKraken, also a very cool piece of software.
  8. A couple days ago I asked about the value of pdfTool in a Quark forum. One comment was unexpected in that they pointed out that the tool is especially good for adding to a Publisher workflow in that it hasn't been around as long and may need a little more help than mature products like Quark and InDesign. That one perspective alone almost justified it's $500+ price tag. I wanted to know have other people found that those two products work really well together? Publisher is the only tool in the suite I haven't explored extremely in depth and I haven't even installed pdfToolbox yet. I like how Serif keeps the price low which allows for workflows like installing it on non-designers computers as I mentioned a couple days ago. Since the work in my company needs to pass by me the more expensive product (pdfToolbox) only needs to be installed on my machine. At first I didn't understand the very low pricing that Serif was doing but now it makes sense. I have even grown to like the name in that it may confuse some Microsoft Publisher users to accidentally start using Serif Publisher.
  9. I was having this discussion with Mike Wenzloff in a Quark forum yesterday which was a great help to where I may go with this workflow. I wanted to ask the same question here to see if there is any serious pitfall I am not seeing among other Affinity users. I work for a company that does a lot of basic layouts; brochures, badges, mailers. I would like to buy Publisher for their machines so that I could just send them a Publisher file in Dropbox and they could change any text right from the program. They currently do this with MS Office files so it seems like moving to this workflow with our advertising would make as much sense. I'm on Mac they are on Windows and some also use iPads if Publisher comes to iPad at some point. Is anyone else doing something similar to this? Having that low price opens up workflows that I haven't tried before. I am also planning on incorporating other tools like Slack and Dropbox in this workflow.
  10. Hi guys, I want to bring a really nice suggestion that can be really time saver while dealing with "switching things" or anything like that, we can bring the most favorite brushes/tools in our right click, like a radial or square menu, I think this gonna save a lot of time for us that work professionally, please just let me know if this can be possible to have on future versions coming soon I'm glad to know that I'm almost 100% working with Affinity Designer , I want to quit from adobe monopoly asap regards, Jhonatan
  11. I'm trying to speed up my workflow, I know in other applications you can copy/paste/sync adjustment settings in RAW to another image, is this possible in Affinity please and if so how/where do I find the option. Thanks in advance.
  12. Hey, I was wondering if anyone had figured out a way to use a mask, or a z-depth image to blur an image? In Photoshop you can use a black and white image to partially blur an image, to get a narrow depth-of-field effect: I've already tried to use a full-image blur with a mask, but that gives 80s-esque halo effects. The halo is there because the whole image (BG+dress) is blurred, while the dress should not be taken in to consideration for the BG-blur. It is quite noticable around the dress here: Anyone have a usable method for this effect in Affinity?
  13. Hi, I write few pages about L*a*b* worflow for trying promote this space about decoupling Color & Lightness in L*a*b* here Lab.pdf this macros is on 1.7 version , not compatible with 1.6 Lab.afmacros Just read this answer Nothing new reinvent the wheel... But perhaps, some one, may have better understanding of this color space and more easy color apprehension, more easy color manipulation Sorry for my bad english, not my maternel language Have fun
  14. Publisher beta V1.7.249, I have just re-set a 200 page illustrated book I did a few years ago using Indesign. Typesetting requirements were about as demanding as it gets and Publisher passed with flying colours. Just a few refinements and Publisher would become my default pre-press system… 1. Scroll bars: Both Publisher and Photo: Yes, keeping down visual clutter is so important but depending on the view often these bars are almost impossible to see, appearing almost the same color as the background. I find I have to stop work to go hunting for them. 2. Guide Manager: I don’t like filled in columns as guides because it changes how images display. Unfortunately, the option to display guide outlines only works for the current session, upon reboot tit defaults to the filled option. 3. Resource Manager: If I remove images from a document and linked folder Resource Manager thinks they’re still there. Every time I boot it tells me they’re missing and asks if I want to locate them. 4. Move Tool: Shortcut ‘V’ will not work if I want to switch from Frame Text Tool mode, I must manually select it…slowing workflow.
  15. Hello how do I set up an extension so th I can open Affinity directly from Apple Photos on my iPad, make edits, and save right back to my Apple Photo Library? For example, PS express and other apps work seamlessly like this. Thanks. Dan
  16. Well ! The title says it all, Affinity Publisher is missing/lacking of the essential Export Persona. On a workflow like mine where i use Affinity Photo to process everything pixel, Designer to Process everything Vector and make them all converge to Affinity Publisher for project finalization. So, 80% of my exports happens there because Affinity Publisher does it better when it have to print stuffs ! Please bring a shiny but powerful export persona to Publisher.
  17. Yesterday I tried to make some ajustments using affinity but unfortunately I wasn't able to get it right. There are two missing features. There isn't something like an eyedropper for selecting the color. Sometimes PS considers something as yellow when it looks green for instance. But much more importantly, there isn't any way to change the range of the color it's trying to affect. This is crucial for a lot of HSL ajustments. A lot of apps do offer the ability to adjust the HSL range. Now you can adjust only parts of an autumn leave for instance, the red channel doesn't cover everything and the yellow channel covers other things too so it's just not possible. Maybe you can work around this issue by using something like color range, but that limits your options to only one color and it's more work and less flexible. Please refer to the attached screenshot to see what I mean.
  18. I struggle to create gradient fills easily and efficiently. Here are the two methods that I use, and perhaps the only way. I'd be curious if someone out there has another method. Method one: Create object select "G" on the keyboard draw gradient Select the Gradient color box at the top toolbar make active a node on the gradient line select color from colour box Repeat steps 6 -7 for each node in the gradient line. Method two: Create object select "G" on the keyboard draw gradient Select the node in gradient bar Select Swatches tab in the docker on the right Select color in the Swatches pallet. Repeat steps 5 -6 for each node in the gradient line. Suggested Improvements: A) What I would like to see is the ability to double click on the color node on the object itself, not the node from the methods above, and by double click the node a swatches pallet opens for you to make your color selection. B) Another option would be to select color node, select the eyedropper in the tool bar and while holding the Shift key down select the color you want applied to that node. This method is great for sampling color from other drawings or reference images. I appoligize if there is another method alreay in place, I just haven't come across it yet. Thanks in advance. -Bill
  19. I just want to share with you, that I have just launched an Affinity Photo Workflow Video Course. I have for a long time felt a lack of training videos, that tie the features of Affinity photo into one professional workflow. So, I have created a course, that: Allows you to begin to use Affinity Photo like a PRO with confidence. Explains a Start-to-Finish Affinity Photo workflow. Get to know all the post-processing steps: from opening a RAW file to publishing or printing the finished image. 140 minutes of video content, including explanations of key processing techniques and case videos. Includes 3 bonus workflow macros included. Specially designed for this video course. Gives you everything you need to establish your own non-destructive workflow using Affinity Photo. There is already a lot of great videos about how to use Affinity Photo, however with this new course, I think that many photographers can improve their understanding of Affinity Photo and establish their own editing workflow. By the way, as a thank you to Serif for giving photographers a great product, all interested users in this forum can use the coupon: forum.affinity.serif at check out get an extra 15% discount on the video course. I hope you welcome it into the growing pile of professional training material for Affinity Photo. Cheers, Peter Dam
  20. more specific context menu entries for each tools and an option to customize the context menu in settings.
  21. Hello, during the last couple of days I spent a lot of time with Designer. I watched most of the official tutorials and read the relevant parts of the documentation. So far, I love AD, but the following behavior drives me nuts and renders AD almost unusable for me. I am trying to draw a brushed illustration using a Wacom. I have hundreds of strokes and want to clean them up: sort them into groups assign different stroke widths etc. However the selection process seems to be almost impossible hard. Please consider the following quick screen-capture: <iframe width="560" height="315" src="https://www.youtube.com/embed/_DsJZdXqWzY" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe> ( https://youtu.be/_DsJZdXqWzY ) It shows the following problems: Frequently, I'm am accidentally creating copies by dragging with ALT or CMD Pressing CMD-Z once will only undo the offset but not the duplication which leads to two identical copies of the strokes precisely on top of each other (it took me hours to actually notice this behavior and now I'm always using slightly transparent stroke colors) Trying to select a stroke by clicking with CMD+SHIFT is totally random. Sometimes I'm lucky but it feels like most of the time a random neighbor stroke is being selected. (SketchApp always shows the inner bezier-line as hover before clicking which makes it possible to quickly select the right element without trail and error) Trying to select several elements with marquise-selection frequently does more damage than help, because I just create more accidental drag-copies. Drag zooming with SPACE+CMD+Drag is super fast. But if I accidentally press CMD+SPACE+Drag (pressing in the wrong order) -> Yay, I just created another invisible copy and have to Press undo twice. I can't figure out the "Edit all Layers"-toggle. It should lock me into focusing on a single layout (without accidentally switching when CMD+selecting or dragging). But it doesn't seem to make any difference. The Isolate Layer-Mode (ALT+Clicking on a thumbnail) would be super useful, but sadly it is abandoned as soon as you want to select several elements. I have a hard time figuring out the precise working of the layer-player (Group vs. Layer vs. Component). Sometimes it seems to have an impact on the selection (esp if the toggles of "layer-items" are highlighted with a circle). The CTRL+CMD+Click context-selection frequently only lists a single "Curve >" icon, that can't be selected. I guess I must be using it wrong so I'm looking for advice from advanced users. How are you doing this kind of basic selection work? As mentioned above, I frequently work with Sketch, and selecting stuff seems to be million times more efficient and logical there. Thanks for your help. Any tips or pointers are very welcome. Tom EDIT: I finally figured out, that the "Edit All Layers" toggle is to be taken literally: After promoting many of by Groups into proper Layers, this already helps quite a bit. affinity-designer-problems-01-selection.mov
  22. Hi All I've recently purchased Affinity Photo and Designer plus both workbooks and intend to get into both of them. Up until now I've been a big Lightroom fan but, have recently debated the value of subscribing to Adobe as a photography enthusiast rather than pro. Now I have invested in a Surface Pro I'm looking at my workflow and debating how I can get the best out of both. Setup Prior to Surface Pro: LR CC Classic RAW Photos and Catalog Synced with One Drive for backup Choices moving forward: 1. Stick with LR CC Classic Sync Catalog via One Drive RAW Photos move to an external drive and use between the two Use Affinity as my go to editor Plus Points: A workflow I'm used to with LR CC Classic Negative Points: Still paying for Creative Cloud, catalog needs to be synced before opening on surface and vice versa 2. User LR CC Sync all RAW photos to the cloud with LR CC Plus Points: Works seamless between both devices Negatives Points: Still paying for Creative Cloud and cannot open in Affinity from LR CC (Booooo!) 3. Sack of Creative Cloud Use Windows to manage files / other software and run with Affinity Photo RAW Photos all synced with One Drive Plus Points: No Creative Cloud Subscription Negative Points: Need to adopt a new method for managing RAW Photos and quick edits. These are the options I think I have but, as this is the place for all Affinity Photo questions, I'm sure others have their workflows that they could share. What RAW Processor / File Management System do you all use prior to opening Affinity Photo? I've seen DarkTable amongst others and also debated converting my files to JPG once finished editing, one to save disk space and two means the files are how I want them to look. Obvious downside is reverting them back to original if you don't keep the RAWs. Thanks for anyone's help in advance, it's greatly appreciated. Carl
  23. I keep running into a strange (and annoying) problem when copy/pasting objects from Designer to Glyphs in that some geometry is lost in translation from Designer to Glyphs (see attached image, files.zip also provided). If I export to SVG and then import into Glyphs everything is fine (but this makes the process much more laborious), as is also the case when I convert the origin node to a smooth curve, etc. If I simply leave the origin node as is it appears that the node immediately after the origin node is omitted on copy/paste. I'm not sure if this is a Designer issue or Glyphs issue, but I thought I'd start here as I only have this problem when copy/pasting geometry from Designer. files.zip
  24. I have an Affinity Photo document with many dozens of layers. I frequently need to export one of the layers individually to a PNG (hiding all of the other layers/content in the document). I've found this very difficult to do, as I can't currently find shortcuts to either: a) hide all layers except the selected one or b) directly export a single selected layer Also, I need layer effects of the parent group(s) to still be applied. Which means doing something like copying the layer and then choosing New from Clipboard and then exporting won't work well for my purposes. Perhaps I'm overlooking something obvious? Can anyone offer suggestions on the easiest way to do this?
  25. Hello everyone i'm currently working on making my workflow with affinity products to be as fluid as it can so i won't mind not having other products installed. i know Designer and Photo use the same file format and i've learned about the place tool etc... but here is my need: Case: in Past days, using Adobe Products, i could prepare an A4/A5 Canvas on inDesign the work on my photo with PS then all vectors with Ai and when all is done just place them on my inDesign, adjust and if any change i want to do, i just right click on the stuff (picture or vector) select Open/Modify with, select the right software, do necessary changes there click Save come back to inDesign and see all changes Synched. i've tried to do that with Affinity products but up to now, i can't get the updated file synched after i have made changes and Saved the whole thing; it's just stays as it was the minute i placed it; so; maybe i'm missing something here on how to team them and use as efficient as i would do with Ai+PS+iD. Thank you all for your inputs.
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