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Found 102 results

  1. decimate555

    Brush Diameter Not Correct

    In the attached screen animation it shows a brush with 100% opacity and hardness yet the brush perimeter on the outer line is not matched up with the brush's true edge which makes it very hard to line up on the object when trying to paint over it… seems the calibration is off. This is based from the AP beta 1.5.0 Beta 6. Thank you.
  2. Hey all, here's a redo experiment of an illustration project I had a few years ago for an article about how "Successful People" manage their thoughts... The goal here was to revisit this illustration and try to only create it using a "pixel painting inside vector shapes" workflow in Designer for a new look. I'm really happy with the process and the outcome and plan to adopt it to a few more ideas I have on the drawing board. Trying to keep the process as simple as possible, I used only one brush for consistency and didn't employ any effects or multiply/screen layers for shading or highlighting. It's all painting. It was a lot of fun and surprisingly pretty quick. I like the background, but I also like it without.... Hope you like. Cheers, Kevin
  3. I'm considering retiring Photoshop CS4 in favour of Affinity Photo when it's released for Windows, hence why I'm here, but am curious how far Affinity Photo's tools stretch for digital drawing/painting too? Although I'm not new to image editing, one thing that has recently started to peak my interest is digital drawing/painting. However, as it's something that I haven't paid much attention to before, I am a complete newbie when it comes to that. As an example, here's a video of an artist who used Photoshop for a long time, but recently started using Manga Studio (now called Clip Studio Paint) for drawing due to it's better drawing brushes, etc.. The brushes he seems to use most often are pencils for sketching (5:15 & 10:35), G-pen for inking (12:00) and transparent watercolour for blending/shading (15:42). Here they are in real-life use (Note: Link may or may not be safe for work depending what country you live in). I assume Affinity Photo contains brushes that are capable of producing good results for sketching and blending. However the Manga Studio brushes also seem to have brush stabilisation and the G-pen seems to have a mode to use it as a vector brush. Do the Affinity Photo brushes have stabilisation and a vector brush tool (or are there any plans to introduce them)? A quick search brought up the following posts, which seem to suggest no? https://forum.affinity.serif.com/index.php?/topic/7617-stabilise-brush-strokes-and-faulty-brush-settings/ https://forum.affinity.serif.com/index.php?/topic/10152-brush-stabilizer/
  4. smallreflection

    Self portrait

    Self portrait done in Affinity Photo, with default drawing brushes, a bit of Daub's gouache brushes, and a smattering of fine texture on top. Currently using AP for a big client illustration project—it's been a joy to use.
  5. Hi, I don't know if this question has already been addressed in this forum. If it has, please let me know where. I am looking for techniques that you might know, using adjustment layers and filters within Affinity, that can be used to create painterly effects, like the ones you might achieve with dedicated software such as "Impression" or "Snap Art". I know that at some point Affinity Photo may include creative filters in its program but in the meantime I would love to know some work arounds that can achieve similar effects. Thanks!
  6. To be honest, I've never tried Affinity Photo for digital painting. I usually work in PS or Manga Studio. But today I was testing some brush settings of Photo and came up with this quick portrait. I've always tried to emulate the traditional mediums when painting digital, so I tend to work my digital paintings with that natural a la prima feel... working in one layer and mixing pencils and 'gouache'. Here's the result: I think I'll use Photo for more digital painting. It runs pretty smooth and fluid. It is pretty fun to create brushes too, very fewer settings compared with other painting software, but at the same time those boundaries makes you create some nice brushes more quickly. Hope you all dig it!
  7. smallreflection

    Steam Court painting

    Not 100% done, but this is a portion of a new art piece done by commission for an upcoming card game. All painting done in Affinity Photo Beta. So far it's been fantastic with few hiccups. The new beta does seem a bit friendlier to my Wacom as well. :) More updates will pop up at SteamCourt.com soon!
  8. Here is my latest concept art for a client's top-down game. I was also using the DAUB brushes. They work great! All work done with Affinity Photo. You can see more of these and some of my process on my Artstation profile.
  9. Hi Everybody, I've imported my custom brushes from Photoshop, but they lag a lot when using them in Affinity Photo. It takes a good 5-7 seconds before my mark appears, even just a single click. I'm not using a tablet, just a mouse. My brushes tend to be large (2000px), but nothing that PS couldn't handle. Any ideas? I thought about turning off the brush preview, but I need it to see where I'm laying down my marks. Thanks!
  10. Hey there! My name is Benjamin, and I just started to use the marvelous piece of software by Serif today (even though AD is a world for itself). Never did serious stuff in Photoshop, so it's kind of a double debut. I started arts 2 years ago and I still suck, so I'd love some critique. I will also use this thread to keep on publishing my work. Cheers!
  11. Mattyd

    POOR BRUSH ENGINE

    I like these apps but the brush engine is really poor, it really doesn't respond well- I need to edit the brushes alot and move the flow right down to 5 percent just for it to work more like Photoshop and other apps, even then it doesn't feel right, the best brush engine I've seen is sketchbook pros. I've changed all the settings - setting it to pressure ajust jitter etc still no good, or not good enough for professional work, Also resolution of brush strokes can be a bit pixelated on a macbook retina screen. Please developers play around in sketchbook pro for a bit,see the difference, apart from this both designer and photo are fantastic apps.
  12. I like these apps but the brush engine is really poor, it really doesn't respond well- I need to edit the brushes alot and move the flow right down to 5 percent just for it to work more like Photoshop and other apps, even then it doesn't feel right, the best brush engine I've seen is sketchbook pros. I've changed all the settings - setting it to pressure ajust jitter etc still no good, or not good enough for professional work, Also resolution of brush strokes can be a bit pixelated on a macbook retina screen. Please developers play around in sketchbook pro for a bit,see the difference, apart from this both designer and photo are fantastic apps.
  13. Hi all, i'm Gabriele and i'm new of this software. I've start to use and try to find a way to get the best of my photo. I've a first question. When i had use CS6 i used often the oil painting filter to give a "Van Gogh" sensation to my photo. There's something for Affinity? Thanks a lot for your answer :)
  14. This is my try in Affinity Photo I must write here that this is made by me in Ipad Pro with Apple Pencil
  15. bodobe

    Portrait

    Portrait, oil painting, photographed, edited with Affinity Photo. http://b-bertuleit.de/portrait/
  16. I'm trying to create a low-poly picture in AP, and can't figure out how to draw my polygon mesh, fill it with the colors I want, and then make the mesh itself disappear. I've been sampling from the layer below that contains the actual image, and then using that color to fill in the polygon of the layer above. My problem is, that when I do this I can't separate the fill color from my drawn polygons, but without the drawn polygons I can't fill. Any tips would be appreciated on this.
  17. michaelmar777

    Acquire Photo

    To whom it may concern: I truly like Affinity photo, but I have a few issues about the program. First. The Aquire Photo does not work. It will not recognize my drives—internal or external. Also, it does not recognize any of my card readers. At this moment, that part of the program is useless. Second. The inpainting brush does not work when clicked on. If I click another brush in that set it will work, but not if I click it on first. Also, if I do any color correction then go back to the inpainting brush or any brush nothing works. It's very frustrating.
  18. I tried to use as many of the brushes as I could. Starting with a black background saved me a lot of work. Keeping foreground, mid ground, and background in separate layers also helped a lot. The texture brushes are a blast to use.
  19. I started with an all-brown drawing and used very low transparency brushes to overlay color
  20. I tried to keep the total time below 2 hours and 1 Brush. This is based on a photo of the waterfall that run through the center of Camden Maine. I am liking the speed and responsiveness of the brushes, and the program in general. Fast and so far no crashes or problems. Very good.
  21. paolo.limoncelli

    Some watercolours

    Messing around a bit with watercolours and some blenders. I recently repainted this picture from scratch using the new Watercolour Set, using much more refined tools. Now textures are subtle but perceivable and the final result is more credible. Affinity's engine has been growing a lot since 2015!
  22. I use Corel Painter, but often for sketching first before I consider doing any painting. I do this because I want to have a digital copy of my sketches and I don't want to have to scan everything in all the time from a paper+pencil pad. When I do use the sketch pad, I will often scan that sketch and drop it into Painter to play with. Clean it up, rework it, etc. Sometimes I take that sketch further and play with painting it using Painters transparent page feature to sketch and paint over another image as well. Can your software incorporate more of the Corel Painter like qualities. Tools that can incorporate pressure of digital pens/paint brushes, etc. Perhaps giving people an opportunity to use their Stylis pad more with your software. Yes, I do understand that your software is for Vector art, but incorporating something like this feature with Vector art opens up a lot of options. Drawings that start as a sketch then evolves into clean vector art like comic books, architectural renderings, and other various Graphic Art styles. Having pencils, pens, and paint brushes that accomodate pressure, style, and skill beyond just click click click offer a great deal more.
  23. It seems that whenever I draw lines using the Affinity Designer, the program automatically smoothes/straightens/corrects them. I'd love for this feature to be able to be toggled on and off, because sketching would be a lot easier. Even though the feature is helpful in some ways, users should be able to draw the lines to their preference without having the software automatically correct it- which oftentimes results in the line looking like nothing I had drawn in the first place. I thought it was a problem with my pen settings (I use an Intuos 4 by Wacom) at first, but after experimenting with the settings I wasn't able to find anything that would toggle this automatic response on/off. While looking around, I also thought that it would be quite useful to see some more settings to adjust pen pressure and other pen qualities as well. I'm new to this software, and this happened to be one of the first things I noticed as I played around with the pen and paintbrush tool.
  24. Hi all, just some doodling here trying out painting inside of shapes in Designer. Started playing with Paolo's blender brushes he so graciously created. When using them in conjunction with the smudge tool you get some really nice mixing abilities. In the call out shape for instance I painted a mixture of the 2 main colours then applied some "blending" using one of Paolo's spatter blend brushes. It just spatters using the underlying colour and doesn't put any new colour down. Changing the size of the brush changes the size of the texture it paints. For the eyeball, (I didn't start out to do an eye it just ended up that way) I used a mix of painting and blending especially in the white of the eye with the blood vessels and texturing... then in the iris I painted inside the circle shape laying in the colour in the general areas and using Paolo's blenders to really gave it a nice complex feel. I usually add a .01 gaussian blur to take the hard edge off the shapes. it tends to soften the paint work a bit but it's a reasonable trade off. On the donut-pie shape I was just playing with a nice painterly play of light and shadow. The blenders are great for adding that "painterly" feel with tons of control. Again by reducing the blender brush size the blend effect gets smaller and more precise. This is all in Designer, which for me is probably where I will spend most of my time. The fact that I can get these type of results in a "vector" app is incredible. The hardest part of all of this is knowing when to stop! :D
  25. So... I wanted to see how Affinity Designer's pixel painting feature set stacked up to Photoshop's with a little experiment. I had created this Bunny illustration in Photoshop CS4 (yes I know I'm a little behind the curve) and decided to take a crack at it in AD. I was excited with some earlier attempts at painting in AD so I thought a back to back comparison would really reveal it's strengths and/or weaknesses. The original image on the left is PS the recreated AD image is on the right. The other two images are from AD with a background added. Years ago I used to be an airbrush artist and I worked out a workflow in PS where I used the paths as "frisket" to created selections to "airbrush" inside of. The AD piece at right is done in a similar fashion. I created paths of the various objects, arranged them on layers and painted inside them using the great selection of brushes available. But with AD I was finding I could work a little more flexible and more "un-destructive" allowing for more freedom to experiment and play with ideas... for instance the whiskers are strokes that I can continue to tweak if needed, the high lights on the ears are also strokes that could be further refined and a lot of the "painting" are actually effects and not painted at all, so those would be adjustable after the fact as well... ...all in all I was very pleased with the outcome and more importantly the "workflow" exceeded my expectations. For me, truly this is the perfect workflow that I have been wanting for years, a real balance of vector and pixel that delivers on what it promises - finally! Now I'm not dis'ing Photoshop, and I don't want to start an Adobe bashing thread... I just thought a comparison of what I discovered in my working method might benefit others and also I wanted to thank the Serif team for offering all of us a solid choice!
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