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It is the text not rotate around the circle, like the attach file, the inner hour big text does not rotate, any idea? Similar question: instead of numerals, what about objects, like rectangular hour and minute markers? Is there an easier way? Welcome to the Serif Affinity Forums, nobodysawme. For minute markers, use the Cog Tool to create a gear wheel with 60 teeth. Adjust the parameters so that the teeth are separate thin rectangles. Alfred Cog wheel idea is awesome.

That’s what I did in this clockface markers. It has the history included so you can use the history slider to see how I made it. Affinity Photo 1. How would you get the second hashes to follow a rectangular path?

I’ve been using the rectangle tool across the screen and doing the duplicate around the. How can you do this, or can you make individual hashes follow a shape that’s not round?

If you want something like this I can do in Inkscape as it provides a Cut feature which will maintain stroke style:. For the square second or minute hashes AND to keep them single curves for whatever reason. I did it in two stages, inner and outer, but maybe you can pull it off in one I’m moving kinda fast. Feel free to slow down the vid or step through the frames if needed. I must be missing something but when I try to duplicate all the steps in your video, at about when you select all?

Where I am at now, just before trying to select any of the curves, is shown in this objects. To just select the inner bits probably many other ways to do this after you first click with the mouse hold down the control key when dragging mac. When doing that, only things that are fully enclosed in the selection marquee will be selected, i. Go to the Contextual Toolbar at the bottom of the screen and adjust the Width so the diameter of the Smart Selection Brush is just a bit smaller than the woman’s iris.

You should be able to see a faint white circle every time you change the Width. For us, this Width is The reason for this is that we want to click one-time on each of the woman’s eyes to make a selection of that eye. This is the easiest way we know to make selections, especially when wanting to select uniform objects in this case a circular iris.

When you click one time in the center of the left eye and the dancing ants aren’t perfect, simply press the Undo button or tap the screen with two fingers and try again. It took us about three tries for each eye.

Now that we have the woman’s eyes selected, we need to jump back to the Photo persona to duplicate this selection’s layer and to continue our work on the effect. Click on the Commands icon see white square and then click on Duplicate in the pop-out window. This will duplicate the image layer we are working on. Normally, you can press one finger to the screen and choose Duplicate from its pop-out window, but the app won’t allow this function due to the selection we have around the eyes.

Click on the Layers Studio icon see the yellow square in the below image to open up its studio where we can see the two layers. Next, we’re going to make a color adjustment to the woman’s eyes. But, before we do this, we want to explain the next steps.

Recoloring inside a selection is quite a simple task once you know how to do it. Because the dominant color of the image is green, we’ll work with this color. Click on the Adjustments icon see white square in the image above. Choose Recolor from the pop-out window’s list of choices see the yellow rectangle in the below image. Click again on the Adjustments icon to make its pop-out window disappear.

This will clear up room so we can better see our image. This is the Hue degree for green. But feel free to use another color if you want. Whatever color you choose, make sure you adjust its Saturation and Lightness to make the new eye color as realistic as possible.

Practice Time: Take at least five minutes and play around with the different buttons to change the color and appearance of the woman’s eyes. Be careful to remember that the goal here is to not only change the eye color, but to make such a change realistic. When you are done practicing, come to the next paragraph.

Check out what we’ve done to our eyes. This will remove the selection’s dancing ants from the woman’s irises. Click on the Layers Studio icon again to reveal the layers. This ends the first part of this lesson. Part II: Creating Selections with the Pen Tool In this second part of learning how to make selections, we’re going to make a selection of the Egyptian Sphinx and remove its background.

The image for this lesson is titled Basics 4 – Selections – Sphinx. Please have it on your screen so we can begin. First, we’ll use the Pen Tool and click to make outlining points all the way around the Sphinx. Second, we’ll use the Node Tool to add curvature to the areas between the Pen Tool’s points. Third, we’ll cut out the background so all we have is the selected Sphinx. Last, we’ll place our Sphinx on a beautiful black background. Ready to get started?

Let’s begin Click on the Pen Tool so it’s active. Do you remember from the previous lesson how to tell if a tool is active or not? Hint: It’ll have a vertical blue line on its left side. Press two fingers onto the screen and slide them outwards to zoom into the image so the Sphinx’s body is in the center of the screen. Click individual points all the way around the Sphinx. Where there are obvious curvatures of the object see the Sphinx’s form inside the black rectangles , you only have to click at the start and end of the shape’s curves.

The Node Tool is used to bend these Pen Tool lines into nice curves. Note: You can tell where the starting point is by finding the blue square node in the lower left corner of the image. This is where you need to both start and finish your Pen points.

Don’t worry if your Pen Tool points are outside the image and on the canvas. These points simply won’t be seen when the image is selected and placed someplace else.

Click again on the Pen Tool icon and choose the Node Tool from its popout window see the below image. Tools that have these little triangles next to them mean there are multiple tools viewable by clicking on that tool. It’s a space-saving thing the developers use. The Node Tool is what we use to convert the straight lines between the Pen Tool points into curves. The way it works is that you click anywhere on the line between the nodes and then drag the line, so it hugs the contour of the Sphinx.

Click on the straight lines between the white nodes to add curvature to the Pen Tool’s lines. Take your time doing this. Do this for the entire image. Press the Undo button or double tap the screen with two fingers as often as you need it for any mistakes you make. You can also delete them if you want to.

To do this Click on a white node so it turns blue see black square in the image below and then click on the Delete button on the Contextual Toolbar see the white rectangle. Note: Don’t worry if your work is not perfect. This is only the beginning of your experience with Affinity Photo. You will greatly improve with time and more practice.

Take your time and try to add curves to each of your straight lines as we did in the above image. Click on the Node Tool so its pop-out window appears and then click on the Pen Tool. We need to do this so the Contextual Toolbar changes its options. Now that we have the Pen Tool’s Contextual Toolbar back, all we have to do is click on one button and the background will disappear around our Pen Tool marked Sphinx.

Click on the To Mask button see white rectangle in the image below and immediately the background around the Sphinx will disappear and be replaced by a transparent background. Now that our selected Sphinx has no more background, we are going to add a new one. To do this, we’ll create a new Fill Layer and then move it under our Sphinx layer in the Layers Studio.

Last, we’ll change its color to black. Click on Layers Studio icon if it isn’t already open and then click on the Add button see white square to open its pop-out window. Click on the Fill Layer button. This will cause our image to turn completely white. This isn’t a problem because we’re going to change its position in the Layers Studio next. When you do this, make sure you see a blue line under the layer you want to place the layer under see the yellow arrow in the below image for this action and position.

Now, we need to change its color from white to black. We can do this by going to the Color Studio. Now the Sphinx looks like a proper museum piece. Go back to the Layers Studio and then click on the group icon see the small white rectangle in the image below on the left side of the top layer to open the grouped layers. The group icon is a small triangle on a layer.

When it’s pointing downwards, like it is in the image below, then it’ll reveal its grouped layers. When it’s pointing to the right, it will not reveal its grouped layers. Uncheck the middle Curve layer see yellow square. This will reveal the original image. This ends this lesson on how to make selections. We will be making many more selections in the twenty lessons further on in this book. So, you’ll get more practice. Basics 5 – How to Use the Adjustment Layers Knowing how to use the Adjustment layers is fundamental to using any photo editing software.

Thankfully for us, the creators of Affinity Photo for iPad have made using adjustment layers simple. But, before we get too far in this lesson, you need to know the top two aspects of using adjustment layers: They are non-destructive.

They do not destroy your original images. They have built-in layer masks. Paint in white, grey, black and watch how they change. Knowing these two truths will help you learn how to use Adjustments much faster than we learned about them.

You will not destroy your original photographs and you don’t need to add additional and unnecessary layers on top of our images. We hope this lesson will give you a good understanding of how to use the adjustment layers. Please have the image we’ll be using for this lesson on your screen now.

Click on the Adjustments Studio icon see yellow square to open its popout window full of selections. Immediately when you do this your image will turn a generic black and white. We mean generic because you will need to make changes to the different color channels in order to create the new black and white image you want. Go to the Contextual Toolbar at the bottom of the screen and adjust the color values the same as you see in the below image.

These are the color values we think make our image look its best. If you think a different combination of color values would be better, feel free to use your own numbers. It won’t make a difference in our end result. First, you can click on the circular button and drag your Pencil or finger to the left and decrease its value or to the right to increase its value. Personally speaking, we almost always choose the second option because it’s faster and more precise.

Take a look at the below image and we’ll explain to you the different portions of this pop-out window. To get the value to be 11, simply click twice on the 1 in the yellow rectangle and press OK in the green rectangle. If you need to divide, multiply, subtract, or add your numbers, then you’d use the equations in the white rectangle we have never used this. Now that we have the six color values we want, we could say our color image is now a nice looking black and white image.

But there are some more changes we want to make to it – namely, we want to add more contrast to the image. Note: When you add new adjustment layers, they stack on top of the existing layers in the Layers Studio. We’ll show you these layers after we add the next layer.

The two adjustments we use the most often to add contrast to an image are Levels and Curves. We prefer to use Curves in this case because this adjustment gives us more control over the overall look of our image.

So, let’s go back and click again on the Adjustments Studio icon and select Curves from the choices. Before we continue, let’s click on the Layers Studio icon three icons above the Adjustments icon and look at our current Layers Studio. As we mentioned above, the original image is at the bottom of the three layers. The first adjustment layer is now in the middle position and the newest Adjustment we added, Curves, is positioned at the top of the layers because it’s the last layer we added to our image.

Note: You can always tell which layer is active because it’ll be the one that’s highlighted. Be aware that the most common mistake new users make is starting an effect on the wrong layer. It’s good practice to always make sure you’re on the correct layer before you start your editing.

Question: If we want to get back to work, how can we get back the fastest? We could click again on the Adjustments icon and then again on the Curves window, but that’d take a few steps and there’s a faster way. Think about it before you read the next sentence.

Answer: Double-click on the top Curves adjustment layer in the Layers Studio see above image. When you double-click on previously created layers in the Layers Studio, that adjustment layer’s options in its Contextual Toolbar will reappear which allows you to make new changes to your image.

Notice how the Contextual Toolbar changes each time. This is a great shortcut to remember to increase your workflow speed.

You should be now looking at our image with the Curves adjustment layer active and highlighted. We’ll now use the Contextual Toolbar to increase the contrast in our image. Click on the Spline button to open its pop-out window see white rectangle.

When you click on the Spline button, a graph will open up. For new users this graph will be confusing. To help you as much as possible, we added the different parts of the graph to the below image. For example, to correct an underexposed image, simply raise the white node that represents the Shadows upwards to make it lighter.

Conversely, to correct an overexposed image, lower the white node that represents the Highlights downwards. The most used change to the Curves line is an S-curve. This is used primarily to correct washed-out image. To create an S-Curve, you’ll create new nodes on the line by clicking on the line one time in the top right and lower left quadrants and then bend those to make a slight S-curve.

For our image, we just want to make a slight tonal change to it. This change will give our image a nice-looking contrasty look. We’re now done making changes to the Curves adjustment. Click two times on the Layers Studio icon see yellow square to close the Curves adjustment window so all we have is the Layers Studio open. For us, this is the fun part of making adjustments to images we are working on. It’s always interesting to see the changes we’ve made.

In this case, we prefer the new image created with the added Curves adjustment. It is both brighter and has more contrast. We want to add one more adjustment layer to our image, so click again on the Adjustments Studio icon and select White Balance. It’s located at the very bottom of the adjustment windows.

Click again on the Adjustments Studio icon and select the White Balance adjustment. After you’ve selected the new adjustment layer, we’ll uncheck the two other layers so that we can see how this new adjustment affects the original image. Click on the Layers Studio icon and uncheck the middle two adjustment layers so they’ll be inactive see yellow rectangle for their now-empty checkmark boxes.

Now, we can work with the White Balance adjustment all by itself and learn how it operates. Before we talk about it in Affinity Photo, let’s discuss where we normally see it. That is in a digital camera’s menu where we have to select the type of location, we’ll be shooting our photos in: Sunny day, cloudy day, or in a room with fluorescent lights. Each location will affect how our camera adjusts for the white balance in our photos.

If, for example, you are taking photos in the bright sun, but your White Balance setting is set for an inside room, then the object in your photo will most likely look washed out because of too much sunlight. Then, when you upload your image to Affinity Photo, you’ll have to use this adjustment layer to increase or decrease the color balance or temperature.

This process of editing is sometimes called “color correction”. In the White Balance adjustment, there are two values we can adjust: The Balance or Temperature and the Tint or shades of lightness. When you are done practicing and seeing how your image changes, go to the Layers Studio and uncheck the top White Balance layer and leave the other three layers alone. Take a minute to remember everything we did to get to this point. First, we changed the color image to black and white and made colorization changes to the different six color channels.

Second, we added the Curves adjustment to our image and increased the shadows a touch and increased the lightness of the Highlights. Both adjustments created a nice contrasty look to our photo. This will add a nice warm look to our photo. This is what our final image looks like. But, before we let you go, let’s review the top two aspects of using adjustment layers. Do you remember what these were? If now, we’ll tell you.

They are non-destructive. So, now that we’re done showing you how to use adjustment layers, let’s put these two statements to the test. Go to the Layers Studio and uncheck the three adjustment layers so your Layers Studio looks like this image below. What do you see in the middle of your screen? You should see your original photograph totally untouched by all the adjustments we just made to it. So, as you can see here, the first aspect of working with layers is true.

Now, let’s prove the second aspect of working with layers: That is, they have built-in layer masks. We’ll be covering layer masks in depth in the next lesson, but we’ll let you know what they are now. A mask layer is a layer that is attached to another layer that when painted on with the Paint Brush Tool will either reveal or conceal the layer beneath it.

Don’t let these words confuse you. We’ll show you what we mean now. Also, click on its layer so it’s active. How do we know it’s active? Remember from above? Which is good because we are now going to paint on it with the Paint Brush Tool.

If its layer wasn’t active, then we couldn’t paint on it. Now, please just take our words for it. When we paint in black on an adjustment layer which also acts like a mask layer , the layer beneath it will be revealed. If after we’ve revealed the underlaying layer and we don’t like what we’ve revealed, we can change the color of the Paint Brush Tool to white and then conceal the layer beneath – thereby deleting what we just revealed. Got that? You got this; we know it.

Go to the Tools on the left side of the screen and click on the Paint Brush Tool. After you click on it, you’ll know it’s active if there’s a vertical blue line to its left as there is one in the image below. Now, we need make sure the Paint Brush’s color is black.

To see if it is or to change it to black Go to the Contextual Toolbar at the bottom of the screen and click on the Color circle see yellow rectangle in the below image. You can see if it’s black by looking at the circle in the yellow rectangle. If it’s not black, then you’d move the node in the inner triangle of the Color Wheel straight up towards black see white arrow for this action. The color is already black, so we’re ready to paint. Let’s do some creative work to finish this lesson by choosing one of the child monks and re-colorizing him.

Click on the Width button and increase its px value amount to 40 px. As you do this, you’ll be able to see a small white circle appear in the middle of the photo. This is the Width we are adjusting.

Try to make the px value amount a good size that will fit inside the monk’s head. That way, it’ll be the perfect size to recolor the monk you’ve chosen. As you are working on your monk, take these helpful steps to make your recoloring as detailed as possible: Move the image around the Canvas by using two fingers and repositioning the image where you want it.

Zoom into the image by using a two-finger outward pinch movement. Zoom out of the image by using a two-finger inward pinch movement. Constantly change the Width of your Paint Brush to make your detailing work as precise as possible. Constantly change the color from black to white using the inner node of the color wheel found in the Contextual Toolbar.

We used this probably 20 times. This is what our image looks like when we are done. Look at the black figure inside the white preview thumbnail. This white preview thumbnail means this layer is acting like a white mask layer. We painted in black to reveal the color image below – hence the black color in the preview thumbnail.

So, yes, the second aspect of layers is true. They have built-in mask layers. This ends this lesson. At first, it’s confusing and difficult to do, but after some effort you not only learn how to do it, but it becomes second nature. To make learning about masks as easy as possible, we’ve broken this lesson into two parts. The first will show you the absolute basics of using masks. The second part will guide you through a cool effect you can create using a mask.

Because mask layers are so important to understand how to use, we devoted more to this lesson then the other basic lessons. We hope that after you’ve gone thru this unit, you’ll have the skills needed to continue to use masks well. Learn these five words and don’t forget them: Black reveals, and White conceals. Learn these five steps and don’t forget them: 1. Create two layers.

Click on top layer and then click on the mask icon. Click on the Paint Brush Tool and set the Foreground to black. Paint in black to reveal layer beneath. Paint in white to conceal the layer beneath. Let’s start with a New Document. Go to the Home Page and click on the New Document button top left of screen.

Go to the Dimensions and adjust the DPI to Press OK at the bottom of the screen when you’re done. This is what your document should look like after you do this step. Notice how the blue nodes surround the whiteness of the document. It’s good practice to always try to keep the blue nodes as close to the border of the object you are covering. Click on the Color Studio icon see yellow square and when its window opens drag the inner white node towards the red node on the outside ring see white arrow for this action.

The color is set on red, but its color is white because the inner node is on white. Dragging the white node towards red changes its color closer to red. The outside ring are the different Hues. The inner triangle allows you to adjust the Hue’s saturation and lightness. Click on the Layers Studio icon see yellow square and when its pop-out window opens click on the Add button see white square. Click on Fill Layer. This will create a new layer positioned above our current layer in the Layers Panel.

Full Save or Export List Affinity template. Custom Brushes Create completely custom vector and raster brushes using your own textures Choose behavior for pressure and velocity variance, corners, repeating areas and many other controls Combine Raster and Vector Art Seamlessly mix vector and raster design and art techniques Apply blend modes, opacity and color changes to achieve a perfect finish Drag and drop in the Layers Panel to control where and how brushwork is added to your vectors Preferences let you fine tune how vector and raster techniques behave Resize documents with or without resizing your artwork Fill and Erase Tools Solid coloring regions is simple with a raster flood fill tool Create shapes for smooth gradient fills Erase selectively without destroying vectors Incredibly High Quality Native vectors and gradients are output at any size with no loss of quality Mixed media artwork is intelligently scaled and resampled.

This browser is no longer supported. Want to learn more about how Affinity Designer works? Enroll Now. Want to learn more about how Adobe Illustrator works? Check out my Illustrator Explainer Series – a comprehensive collection of over videos where I go over every tool, feature and function and explain what it is, how it works, and why it’s useful. This post may contain affiliate links. Read affiliate disclosure here.

Your email address will not be published. Save my name and email in this browser for the next time I comment. Venturing into the world of graphic design for the first time may cause you to pause and consider the hardware requirements of doing so beforehand, and rightly so. Depending on the type of design Inkscape and Affinity Designer are both vector-based alternatives to Adobe Illustrator — the industry standard in vector design software.

In the past we’ve gone over how each of these applications Vendor List Privacy Policy. Skip to content.

 
 

Affinity designer ipad align nodes free download

 

There is a wide range of vector tools available in the app, and vectors can have an unlimited number of strokes and fills for maximum flexibility. Grids and guides are advanced and powerful, and the isometric option will be welcomed by many users. There are a number of both pixel and vector brushes depending on which mode you’re working on and, importantly, performance is impressive. For all of its brilliance, Affinity Designer is lacking in a few areas.

It’s a shame to see that there is no support for scripting or animation, and also that there is no plugin support. Affinity Designer is an astonishing achievement by Serif; this is a highly accomplished design tool which fits beautifully into the Affinity range and serves as a genuine alternative to the big names such as Illustrator.

Show all. Affinity Designer for iPad 1. Add to Watchlist Comment Share. Inkscape 1. Create everything from logos and diagrams to complex 3D designs with this powerful SVG editor. Even add multiple fills and strokes to the same object. Organise your work with artboards. You can have as many as you like, whatever size you like. Include unlimited instances of the same object across your work.

Edit one and the rest update instantly. Get a live pixel preview of your work so you know exactly how your vectors will export in raster format. Or switch to outline view to see all those beautiful curves.

Enjoy full text capabilities, including OpenType and text styles. Affinity Publisher. Affinity Content. Official Workbooks. Official T-Shirts.

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Affinity designer ipad align nodes free download

 
On a watch dial or clock face, only the 9 and 3 are aligned vertically. The 12 and 6 are aligned horizontally and the other pairs are rotated to. Alright, folks, let’s go ahead and get into part two of this and I’m gonna show you how to work with S’more notes. All right, see the next one? 3. Nodes part will allow you to create your own perspective grid in Affinity three nodes of the line to select them all, then open the Alignment menu.