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Found 9 results

  1. There is a problem I'm having with gradient fill coordinates when exporting from Affinity -> Illustrator -> After Effects (vector), everything looks fine in Illustrator after opening from Affinity, but when exporting to AE, the gradient is there, but it's coordinates completely messed up Slow solution: Still there is way to fix this: you need to redraw that same gradient in Illustrator and then it works like charm, BUT, it's crazy time consuming for me because I have a HUGE library of graphics needs to be transferred to AE and it will take me WEEKS to redraw exact same gradient everywhere... and I just feel maybe there is some adequate thing to do to avoid this? That feels really stupid to REDRAW exact same gradient inside AI, maybe there is some kind of "bridge" with other graphic software? Fast solution: ??? What I tried so far and it didn't work: Every possible SVG exporting options from AD (with/without viewbox, coordinates, line breaks etc) PDF exporting, all possible exp. options Tried through Figma, with all possible exporting options, and with additional Plugins Figma -> Illustrator, Figma -> After Effects, Figma -> Adobe XD -> AE Adobe Illustrator Multiple plugins to export in AE, currently using 50$ worth Overlord plugin AI -> AE Tried Adobe Illustrator canvas size variations, made it huge, made it small, tried with matching canvas sizes, nothing. It feels that when you redraw gradient in AI it become like generic gradient, and then it works, but before you redraw it- it's like an "alien" gradient from AD, you see it fine, but it's can't adequately migrate to AE, why is that? is there an explanation?
  2. If I warp a shape that has a fill, it appears the fill does not get warped with the warped shape. This seems to happen with any fill, but it is particularly apparent when the fill is a gradient. Did I misuse/mis-configure the Warp? Is that as it should be? Is there any other way to warp a gradient fill to conform to an arbitrarily warped shape? I am using latest releases of AD2 on iPad and MBP with latest versions of their respective OS’s. Attached file was created on iPad. Regards Lionel Warped Ractangle with Elliptical Fill.afdesign
  3. I would like to see a rectangular gradient fill being added so I can create gradients on rectangles that work from both horizontal and vertical directions. Designer crashed when zooming out after having created the mock-up, so will have to do with this large image 😅.
  4. Hello, I've got an artboard with gradient fill and want to copy that exact fill into another artboard. Is there a way to do that or I have to create that fill manually again?
  5. In the images below cartoonish vector portraits of Rock & Roll legend Elvis Presley can be seen. This image was created in Affinity Designer. After having worked with Adobe Illustrator professionally, CorelDRAW privately and Inkscape occasionally for decades, I have come to the conclusion that Affinity Designer is better suited to create vector portraits that do not have hard edges in the face, even if it does not include the Mesh Fill function, that is very time consuming and tedious to work with. The drawing and editing process - particularly when editing the drawing at a later point in time - in this program takes far less time and effort. Progress sequence of the portrait on the right can be seen in an other blog entry: https://communicats.blogspot.com/2020/07/this-is-other-vector-portrait-of-elvis.html?fbclid=IwAR1Yp4CNvlXspX1W_S5LV5Q0UzM1sWsn_TibSegexxHwWyH6C7ayKQ3LJG4 The image below this paragraph is a screen dump of the vector outline of the double portrait. Extensive use was made of Affinity Designers Gaussian blur function, which allows to avoid hard edges in the facial features, as are often seen in vector portraits created in Adobe Illustrator. Many of the curves with which areas on the face were drawn are made by applying multiple node gradient fills and gradient transparency. This method allows to quickly edit (also afterwards) of the drawing which is much faster than while using mesh gradient fill tool that isn't present in Affinity Designer. Personally, I don't miss it. A brilliant Russian artist who works with mesh fills in CorelDRAW once revealed that it took him months to draw a vector portrait, while it is possible in Affinity Designer to make the same effect in much less time. I used CorelDRAW for many years, but only after accidentally running across Affinity Designer I was able to create realistic vector portraits a lot quicker, while making editing afterwards easier and faster. Examples of (more) realistic vector portraits and illustrations can be found in my website at: https://vectorwhiz.com/Vector.html To create (gradient) tints and blurs in the facial area of a vector portrait, it often is necessary to draw curves that have a variable level of blur along their edges, meaning that some edge parts are just slightly unsharp, while other parts are blurred and yet other parts are very blurry. To achieve this effect, I apply the following technique that is below this paragraph: In these vector portraits a Gaussian blur trick was applied in Affinity Designer, as can be seen in the third image. Ellipse 3 is clipped inside Circle 2 and circle 2 is clipped inside circle 1. In the image below you see, Circle 1 is transparent, the other two objects are opaque. Circle 1 has a minimal blur rate, Circle 2 has a higher blur rate and Ellipse 3 has the highest blur rate. The result of these settings are that circle one has an unsharp edge, circle 2 has a blurred edge to the left and an unsharp one to the right, while Ellipse 3 has a very blurry edge on the left and a less blurred towards the right. The blur values are indicated in the third image. The circle with the dotted line only serves to indicate the position and size of Circle 1 that is completely transparent, slightly blurred and used to clip the other objects. In the image below the Layer panel is shown containing the hierarchy of the objects in the image above this paragraph. Objects that are indented to the right are clipped inside the ones above them. The object names correspond with those in the Example drawing. The circles and ellipse are at the bottom of the panel. The objects marked with an 'A' thumbnail refer to the text in the Example drawing. In addition all parts can be given a colour gradient and gradient transparency, all settings that are independently editable of the ones described above this paragraph. In doing so the annoying hard edges of shadows in the face of a vector portrait can be avoided that are almost always seen in vector portraits created in Adobe Illustrator. Affinity Designer allows to create more realistic vector portraits in a much easier way that vector portraits created with the mesh fill function. The added benefit of working in this way is that at a later point in time all the parameters can be edited and tweaked to the preference of the vector portrait artist. Working in vectors with this method allows to resize the portrait without any loss of quality. Of course this technique can be applied to any shape you can draw, not just to circles and ellipses, that I used in the example above, as can be seen in the completed vector double portrait at the top of this blog entry and the vector outline view screen dump below it.
  6. Newbie to the forum but somewhat experienced in post processing. Using the gradient tool in Affinity Photo to create masks and blends and each time I use the tool it resets the end colors to white and mid-tone grey. I can reset the colors to what I want (white, black) with no problem but would like to know if there is a way to have my settings recorded so I would not have to reset the colors each time I use the tool. Hopefully I am missing something simple ?
  7. Hi all. I included this in a thread in the bug-report area, but it really belongs here. I think consolidating the fill controls into a single panel would clarify their use for users. Currently, an object's fill control presents a series of tabs that offer conflicting functions. The tabs represent different types of fills and are exclusive of each other; therefore I submit that these fill types should be offered in a drop-down list and not as tabs. When the user selects a fill type, the panel can display the appropriate set of controls in the panel and the appropriate on-canvas controls (like gradient angle), which currently do not appear at all when using the Fill control panel for an object. Also, the current panel for gradients can be improved by indicating to the user that he needs to click on those circles to set colors and properties, and indicating which of the controls pertain to the selected control point and which pertain to the entire gradient. A colored highlight makes the current selection more clear than simply having a bigger circle and smaller circle (and that size difference isn't even shown on first use of the panel; I assume this is a bug). Users should be able to right-click in that gradient display to insert, delete, copy, or paste control points. Currently it doesn't seem that there's any way to determine where a new one will be inserted. All of the current buttons, except Delete, suffer from major ambiguity: If I press Insert, where will the new point go? If I copy one, how do I paste it? Or does Copy here actually mean Duplicate? Without some hint, however, I don't think users would ever guess that they could add more control points. And then a bunch of Affinity's work would go to waste. I vote for putting a label below the gradient display instead of the buttons, instructing users to right-click to add or manipulate control points. It's more clear, and space-efficient to boot. And finally, I had no idea what "stop" meant. I guessed it was some kind of option for determining what should happen beyond the end of the gradient, but of course the functions offered by those buttons didn't seem to make sense in that context. In any similar type of editor, I see "control point" used more than any other term. I think the flexibility of Designer's fill function is remarkable! Some revision of the UI will help users find it and take advantage of something that Affinity clearly put quite a bit of effort into.
  8. I was experimenting with gradient maps and gradient fill overlays. Two different results.
  9. I posted the lack of an angle control as a bug originally, but I'm cross-posting here after getting more information: When I set the fill for an object, I use the Fill control provided in the toolbar and its dedicated tab for gradients. I would not expect to go hunting around for a separate tool for this and drag an additional effect onto an object, when fill is an intrinsic property of an object and controls are already provided for it. If the controls for a property are deemed too complicated or difficult to implement in the control panel, I would expect on-screen controls to appear when I select that property (in this case, the Fill color well) from the object's property panel or toolbar. The current design, aside from looking like it suffers from a major omission, leaves the user wondering if he's applying a separate effect to the object. I suspect this will be even more problematic if Designer offers multiple fills on the same object (which I saw in the feature roadmap). I urge Affinity to eliminate the fill control from the Tools palette and integrate its function into the Fill control on the properties toolbar that appears for an object. Not only is this much more intuitive for the user, but it allows you to enable or disable the control as appropriate for the type of object selected, and to cause it to disappear when no object is selected. As it stands, it makes no sense for the Gradient and Transparency tools to be enabled when nothing is selected. Gavin
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