Affinity Photo by Johann Szierbeck – PDF Drive

Affinity Photo by Johann Szierbeck – PDF Drive

January 15th 2023 [email protected]

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With this checked on, when we sample a color, it will automatically be applied to whatever we have selected. If you want, you can uncheck the Apply to Selection option. Without it checked, when you sample a color, it won’t immediately be applied to your layer, but will be stored in the sample color circle.

It only allows us to select colors from inside our document. Check on Apply to Selection. However, the great thing about this Color Picker is that it allows us to change the Radius. Right now, we are selecting a color from a Radius of Point 1 X 1 , but we can change this to Average X Now when you press anywhere inside of your document, your rounded rectangle will receive an averaged color from anywhere you click.

If you click just outside the star, Designer will average the black and white colors, and will apply a grey to your rounded rectangle. Both of the Color Pickers have their strengths and weaknesses, but by combining both of them, you should be able to easily select any color that you desire. To apply a swatch to an object, select the object or layer. Inside the Swatches panel, you can see that it has automatically made the last colors that we used into swatches.

Designer will remember the last 10 colors that were used, and put them in the Recent swatch category. Designer comes with some default swatch palettes. Right now, we are in the Greys, but we could use any of these categories. Select the Web Safe Colors. Then choose a red color to apply it. Designer gives many other color palettes to work with, including Pantone color palettes.

Press the icon in the top right corner to make a palette. Application Palette means that you can find the palette anytime you open Affinity Designer. Document Palette means that the palette can be shared with others who have Affinity Designer.

System Palette means you’ll be able to find this palette in other Affinity programs, such as Affinity Photo. Select Add Document Palette. Select Rename Palette. To add a new swatch, have the object selected that has the color we want, then press on the first painter palette.

We can apply these exact colors to any future objects in our document. When you are adding colors, make sure that you have the proper color circle selected, rather that be the Fill or Stroke color.

If you have the Stroke color circle selected, and then press the first painter palette, you have added a no color swatch. Global swatches are special swatches that can be applied to multiple objects, and then if you change the color of the swatch, all of the objects with the swatch applied to them will have their color changed, too.

To make a Global swatch, have an object with a color selected, and then press the second painter palette. Apply this swatch to the heart and star by selecting them, and then pressing the swatch. To alter the color of the swatch, double-click on the swatch. In this case, the heart and star change colors.

Let’s learn a couple more options for adding swatches to our document. Go to the menu in the top right corner of the Color panel. You can edit the color of regular swatches as well, but it won’t change the objects that have the swatch applied unless a Global swatch is applied to the object.

We can also can create a new palette based off of an image. Go to the menu at the top right corner, then scroll down to Create Palette From Image. Select the Spring Flowers image, then press Open. If we want to increase the number of swatches that Designer will make, we can change the number, then press Preview.

We can export our color palettes to share with other people, or import palettes from other people. You can change the location if you want, but I will keep mine as a Document palette, and then press Create.

We now have a beautiful palette of flat design colors that we can use on future Affinity Designer projects. Swatches are a powerful way to keep consistent color schemes throughout your designs. Go to the menu at the top right corner, then press Appearance, then Large. Change the color by using the Color Wheel.

We can see this by looking in the Context Toolbar. Now we can see the Stroke much better. Increase the size using the Context Toolbar. To switch the colors that are in the circles, press Shift X. A good shortcut to know to switch between your Fill and Stroke color circles is to press X.

Change the Fill color by selecting the color circle, and then changing the color. You’ll notice that nothing happens. This is just a simple line, and does not have a Fill color.

Select the line at the bottom. You’ll notice that the line has no Fill and a black Stroke. Almost all objects have a Stroke and Fill applied to them, but some simple objects in Affinity Designer just have a Stroke. The first option we can change is the Style, and we will go over each of these one by one in this section. We have the Solid Line stroke selected now. We can change the Width by dragging the slider. This feature is only relevant if the object is not a closed shape.

Because this line is not closed, we can change the Cap option to determine how the ends of the line will look. Zoom into the end of the line. Change the Cap style to see the differences. Zoom in to see how the join works.

Select the heart, and give it a stroke by increasing the Width. With these options, we could have a round or sharp join when our object changes directions. The Align option changes where the stroke is placed relative to the blue outline. Change the Align options to see the differences. Right now the stroke is encroaching on the Fill. This is particularly evident if the Width is increased.

When Draw behind fill is checked on, the Fill will remain intact no matter the size of the Stroke. Increase the size of the heart again, then check on Scale with object. Typically, this is a good option to have checked on. Select the circle shape, then change the Style to Dash Line.

With this type of Stroke, we have a new option at the bottom. The first number determines how big the dash is. The second number determines how big the gap is in between the dashes. As the numbers are increased, the sizes and gaps are increased. The fourth number determines how big the alternating gaps are.

Now to look at the Textured Line stroke, go to the star shape, and apply a stroke by selecting it, and then increasing the Width.

To see the Stroke better, decrease the Width. Go to the Brushes panel. Press on Basic to see more brush options. Select any brush to see it applied as a stroke. Using the Textured Line gives more variety to your designs. While this section was long, hopefully you learned some useful tips to improving the Stroke in your designs. Scroll to the bottom of the Layers panel to select the Background layer.

Our Background layer is a rectangle that was drawn to cover the entire document, and then it was locked in place with the Lock icon. If you don’t like how the gradient looks, you can click and drag to create a new gradient at any time. Select the Gradient Tool. To apply a gradient in a straight line, hold down Shift while dragging out the gradient. Click on the other color stop to change its color as well.

To move the entire gradient, hold down Command or Control, and then click and drag one of the color stops. To add a new color to the gradient, click anywhere on the gradient line, and a new color stop will be added. To delete a color stop, click on it, then press Delete. One easy option is to switch the colors by pressing the Switch icon. In the Context Toolbar, you can also change the Type of gradient.

Change the gradient to Radial. We now have blue in the center of the gradient that transitions evenly all around it to the green color. Move the green color stop toward the edge of the document. However, we might want to go back and change the gradient again. To do this, select the layer that had the gradient applied to it, in this case, the Background layer.

Then, select the Gradient Tool. Now the gradient can be adjusted again. To do this, make sure the Background layer is selected, then go to the Swatches panel. In the Swatches panel, make sure you have the right palette selected, then press the painter palette icon to add the gradient as a swatch to add to future projects.

Gradients are an easy way to add beautiful, powerful colors to your designs. Select the Transparency Tool. Select the polygon shape, then double-click on the layer icon to make the polygon take up the whole screen. Click and drag to make a gradient. Where you start your gradient, the shape will be fully visible, while where you end your gradient, the shape will be invisible.

The black color stop means the shape is visible, while the white color stop means the shape is invisible. Now you can adjust the Opacity. If you try to change the color of these color stops in the Color panel, nothing happens.

One thing you can change is the Opacity. To bring the Opacity up, click the circle underneath Noise. You can change a few options in the Context Toolbar, like with the Gradient Tool. You can switch the color stops to make the opposite end transparent.

The Transparency Tool is a great way to add a custom transparency effect to any object. Apply a Brightness and Contrast adjustment. Press the Adjustment icon. Increase the Brightness and Contrast by bringing up the sliders, then exit from the Dialog Box. Notice that the triangle is being affected very strongly, making it disappear.

Just like all other layers, the Brightness and Contrast layer can be checked and unchecked, and if you no longer want it, you can drag it to the trash can at the bottom of the Layers panel. This time, select the heart layer. With the heart being selected, the next adjustment will be applied as a child layer to the heart. Apply an HSL adjustment. Adjust the Hue slider, then increase the Saturation, then exit from the Dialog Box.

By using these adjustment layers, you can easily change the colors of your document. Because of this, I want to show you a great color resource that you can use. This website is great because it does all the math and follows all the rules of color theory to make good color combinations, without us needing to know color theory.

If you want to bring these colors into Affinity, the first thing you need to do is set up your computer in a split screen so that you can see both the website and Affinity Designer. The program generates colors that look good together. Obviously you still need to use your judgement to decide which colors look good together, but this website gives you a great starting point. Click and drag the Color Picker to select one of the colors. In this case, it doesn’t seem to be working. That is because in our last section, we applied an adjustment to the circle, which is making this new color look different.

Select the HSL adjustment, then drag it to the trash can. If you would like, you could continue this process for the other objects in the document. With the help of this website, you shouldn’t have any trouble creating beautiful color schemes for your designs. Press the fx icon at the bottom of the Layers panel. In this Dialog Box, we have Layer Effects that we can apply on the left, and properties to change about those effects on the right.

We can also apply multiple effects at a time. Select the Outer Glow, and check it on. The text layer has now been blurred. Increase the Radius. Remember that if you want a larger Radius, you can always go above pixels if you type in a higher number, like If you ever want to modify the Layer Effects, you can select the layer, then press the fx icon again, or you can press the fx on the right side of the layer to bring up the Dialog Box again. Select the pink rectangle to apply a style to it.

Go to the Styles panel. Click on any of the styles to apply it to the rectangle. To name your style, press on the menu again, then press Rename Category. Rename your category. Click on the text layer. Then, go to the menu and click on Add Style from Selection. Now, there is a new style that can be applied to other layers. Press the yellow rectangle, then press on the style to apply it.

When you make and apply styles, the Fill, Stroke, and Layer Effects will be applied. This even includes gradients if they are applied to a layer. Rename your style. Let’s make one more style. Select the blue rectangle, then select the Fill Tool to give it a gradient. Press the center color stop, and change its color to white. Press the outer color stop, and change its color to a darker turquoise. In the Color panel, select the Stroke color circle, then change the color to gold.

To increase the size of the Stroke, go to the Stroke panel, then increase the Width. Return to the Layers panel, then click the fx icon. Select the Outer Shadow, and check it on.

Go to the menu, and select Add Style from Selection. Press on the square on the far left, then apply the style by clicking on it. As you can see, saving styles can save you a lot of time, so that you don’t have to apply the same effects to each layer. I encourage you to create a few styles that you like, and then apply them to multiple layers. In the Dialog Box, we want Include Margins to be checked on.

Do this for the rest of the boxes, then press OK. If you don’t have a printer, a good rule of thumb is to leave. I’m not sure how many pixels that would be, but Affinity will do the math for us. In the first box, type in. Press Enter. Make sure to keep all important parts of your design inside the margins to be sure that it will be printed. Sometimes, objects span farther than the margins. Click and drag to draw a rectangle all the way across the document, then change its color in the Color panel.

I’m not sure how much of the rectangle will be printed, but at least it will be printed to the margins that were set. If you want to adjust the margins, select the Move Tool.

Press Escape on your keyboard so that nothing is selected. In the Context Toolbar, go to Document Setup. In the Dialog Box, click on Margins. Here, you can adjust or remove the margins. Margins are a great way to make sure that everything that you want to be printed is actually in the area that the printer is capable of using.

We now have Rulers on the top and side of our document. You could also use the shortcut Command or Control R. At any time, you can use the Move Tool to reposition the guides. Guides can help you ensure that the parts of your document are lined up with each other.

Go back to the top of the screen to View. If you ever want to turn off the ruler, press Show Ruler to uncheck it.

If you ever want to turn off the guides, press Show Guides to uncheck it. Press Guides Manager. To add another guide, you can press the icon near the bottom left. To change where a guide is, double-click on the number and type in another one.

To delete a guide, select it, then press the trash can. To remove all guides, press Remove All Guides. When you are done working with the Guides Manager, press Close. Guides are a great way to make your work as precise as possible. Inside the Dialog Box, check on Show Grid. Designer has automatically applied a grid, but we can alter this grid to suit our needs.

If we want the lines to be different colors, first unlock the colors by pressing the chain icon. Now you can adjust the colors and opacity to whatever looks good to you. If we uncheck Use automatic grid, we can adjust more options. We can adjust the Divisions, which changes the number of the secondary lines on the grid. Here, the most important change we can make is changing the Mode from Standard to Isometric. Depending on your design style, an isometric grid might be very useful.

If we ever want to turn our grid off, go back to View, and uncheck Show Grid. Using a grid can help you to ensure that your design is properly spaced and positioned. With Snapping turned on, our objects will snap in place in relation to each other, and in relation to the midpoint and edges of our document. The shapes will snap to the edges of another shape to help you keep the objects in line with each other. The numbers on the lines tell you the distances that you have between shapes and edges of the document.

There are quite a few options, and we’ll go over the most important ones. The first thing to change is the Screen tolerance. The lower the Screen tolerance, the weaker and less intrusive the snapping will be. The higher the Screen tolerance, the stronger and more intrusive the snapping will be.

Raise the Screen tolerance. Go back to the Snapping options, and lower the Screen tolerance back to 8. We can also change the Candidates, which are how many objects Affinity will remember for snapping. By having the Maximum candidates set to 6, only the last 6 objects that you have worked with will be remembered by Affinity.

Another important option is to Only snap to visible objects. This is nice to have turned on so that snapping will only happen with objects on the screen, not objects that I have turned off in the Layers panel.

If you have a grid or guide, and the Snap to grid and Snap to guide options are not checked on, there is not much use for having the grid or guide because Designer will not snap to them. Snap to spread and Include spread mid points means that Designer will automatically snap to the midpoints and the edges of your documents. You can imagine each artboard as a piece of paper, and the surrounding area as a desk. Anything put inside of the artboards will be exported in our final project, but we can use the area outside of the artboard, our pasteboard, to store content we might want to use.

That content will be off to the side, but still easily accessible. Inside this document, there are stars to the left that we might want to include in our designs. When we save this document, all of the objects inside of the artboards and the pasteboard will be included. You can only use pasteboards if you’re using artboards inside of your document. If your document has no artboards, then any object placed outside of the page will disappear.

When the stars are in the pasteboard, they are completely visible, and when they are in the artboard, they are completely visible. However, when the stars are in the artboard, and are partially in the pasteboard, the part of the star in the pasteboard will disappear. An artboard is essentially a Group that has all of your design elements inside of it.

And even inside of an artboard, you can still make Groups and layers just as we have throughout the rest of the course. Each document you make can have as many artboards as you want, allowing you to keep multiple design elements that are all part of the same project inside of the same file.

Artboards can also be used to show the same app on multiple screen sizes, used to make storyboards, and so much more. Artboards are a great way to organize a large project, and keep parts of your project available by putting them inside of your pasteboard. Go to the top of the screen to File, then New. In the Dialog Box, you can check on Create artboard to have one in your new document.

However, keep this unchecked for now. Let’s see how we can make an artboard in our document, even if we didn’t do this step. Press OK to make a new document. Press Insert Artboard in the Context Toolbar to create an artboard and pasteboard in your document. You can change the size of the artboard by using the Transform panel, too. First, we can duplicate our artboard by holding down Alt or Option, then clicking and dragging on our artboard with the Artboard Tool.

We could also duplicate the artboard in the Layers panel by pressing Command or Control J. Then use the Artboard Tool to reposition the new artboard.

You can also go up to the Context Toolbar to add an artboard. Right now, the Size is Document, but there are many other sizes to choose from. Selection means that the new artboard will be the same size as whichever artboard is selected. We can rename our artboards in the Layers panel by doubleclicking on their name. We can also delete any artboard layer at any time by clicking and dragging it to the trash can in the Layers panel, but be warned that deleting the artboard will delete every layer that you had on that artboard.

The Artboard Tool allows you to create and customize artboards inside of your document. Press Command or Control Shift 0 zero. Select the artboard in the Layers panel that you would like to fill the screen with. Select one of the stars. You can change the color of an artboard very easily. When you are working with a document that doesn’t have an artboard, you need to click and drag a rectangle over the document to add a background color. However, with artboards, all you need to do is select the artboard in the Layers panel, then change the color in the Color panel.

Select the Fill Tool. Click and drag a gradient in Artboard 1, then adjust the colors as you’d like. The last tip is that document guides will only be applied to the artboard that you have selected. Right now, Artboard 1 is selected, so the guides will only be applied to that artboard. Press Command or Control R to bring out the Ruler. With the Move Tool selected, click and drag from the ruler to the artboard to add a guide.

To put a guide on Artboard 2, first select Artboard 2 in the Layers panel, then click and drag a guide to it. We can decide the Area to export. In this case, Artboard 1 is selected, but we can change this to any other artboard, or export the Whole Document, which means all of the artboards will be put into one image. We can again change the area, and this time, select Whole Document. Then press Export. Once your PDF is saved, you can see that all of the artboards are saved together.

If you would like to print all of your artboards, this is the best way to do it. You can still do a lot of things in Affinity Designer without ever using this tool. But gaining a simple understanding of this tool can make your life a lot easier. Select the Pen Tool. Simply put, the Pen Tool allows us to draw lines, curves, and closed shapes. In the Context Toolbar, we can decide which Mode we are drawing in. Select the Line mode. Increase the Stroke to better see your line. Making simple, twopoint lines is all that this mode does.

If you want your line to be in perfectly straight, 45 degree angles, hold down Shift while making your line. Press Command or Control Z a few times to undo the lines. Select Polygon mode. This mode makes straight lines that are all connected to each other. Select Smart mode. In the Layers panel, drag the Curve layer to the trash can. Smart mode allows you to put down points, and Designer will create a curve based on the points that you make. Just make points on the document to make a curve.

Once you have closed a shape, you can begin making a new one. Pen mode is the final Mode in the Context Toolbar. This is the most difficult mode, but it’s also the most powerful. First, press Escape on your keyboard so you can start a new curve. Select Pen mode.

Press once to create your first point. To make your second point, click and drag. The more you drag, the more curved your line will be.

You can use multiple modes while drawing the same shape. Delete all the layers in the Layers panel to clean up the document. Press on Smart mode. Click to make a few points. Click to make a few more points, then finish the shape by pressing on the point you started with.

By combining multiple modes, you have great flexibility when working with the Pen Tool. Now that we have a closed shape, give the shape a Fill by choosing a color in the Color panel. Our curve now works as a shape that can be filled with color because it is closed. If we select the Node Tool, we can adjust the nodes on our shape. Node Tool chapter. Knowing how to use the Node Tool will be crucial in learning how the Pen Tool works.

We will learn about Bezier curves in simple terms. Click once to make your first point, then click and drag to the right with each point you make in this line. Don’t worry too much about why the line looks the way it does. Make sure that you are in Pen mode in the Context Toolbar.

Set the Stroke to about 20 pt. Click on a node, then zoom in. The handles that affect the curve work like magnets. The more the handle is pulled out, the more it pulls the curve like a magnet. We can see the Bezier curve handles that are coming off of it. The way that the line curves is determined by the handles.

We can change the handles by clicking and dragging on the control points, which are the points on the ends of the handles. When a control point is pushed closer to the node, the curve becomes less intense.

You can also move the control point in various directions to move the curve wherever you want. As the control point is moved up, our curve moves up, too.

The Bezier handles are working like magnets that pull our curve. Click and drag the Curve layer in the Layers panel to the trash can. Click once to lay down the first point. Click and drag ever so slightly to the right for your second point, then press once to lay down your third point. The handle was barely pulled out, making the curve change direction very quickly to get to the third node. Because the handle is so short, it is barely pulling the curve at all.

And remember, you can also move the handles up or down to change the direction of the curve. You now know the basics of Bezier curves, however, don’t expect yourself to be a master of them yet. The Pen and Node Tools take quite a bit of practice to get right. However, the more you use these tools, the easier they will become.

Press Escape on your keyboard to start a new curve. Click once to lay down a point. Click and drag quite a bit to the right this time to make your second point, then press once to lay down your third point. I recommend that after you finish this chapter, you play around with the tools a bit more to see how they work.

This time, we can see that the Bezier curve handle is very long. Because it’s so long, it’s pulling the curve out quite a bit before it changes direction to get to the last node. Press once to make your first point. Hold down Shift, and your next point will be restricted to being laid in 45 degree increments in relation to your first point. Right now, the handles can be dragged in any direction.

Hold down Shift, and the handles will be restricted to moving in 45 degree increments. By default, clicking and dragging means that you can only move the handles. If you hold down the Space bar, you can move the node while clicking and dragging.

Click and drag to lay down another point, then hold down Alt or Option to adjust only one of the Bezier curve handles, while leaving the other one alone. This is perfect for making shapes with sharp corners, because once you hold down Alt or Option, the node becomes a Sharp node. We know it’s a Sharp node because it is a square instead of a circle. Press the Smooth node icon in the Context Toolbar.

Press Command or Control 0 zero to see the whole document again. Press P for the Pen Tool. One of the greatest shortcuts for the Pen Tool is that you can hold down Command or Control to temporarily switch into the Node Tool. By pressing Command or Control, you can see that the cursor has changed into a Node Tool cursor, but the Pen Tool is still selected in the Tools panel.

The last shortcuts are all done while holding down Command or Control, which means they involve using the Node Tool.

With this shortcut, you can quickly lay down points with the Pen Tool, then quickly edit them by holding down Command or Control to use the Node Tool. With the temporary Node Tool out, you can click and drag to move the nodes around by holding down Command or Control, but if you also hold down Shift, you will only be able to move the node in 45 degree increments from its starting place.

This way, the node stays as a Smooth node. If you were to hold down Command or Control and Alt or Option, this will turn the node into a Sharp node because the curve handle is no longer in line with the other handle. You’ll need to release Command or Control, then press Delete if you want to delete a node. If you’re new to the Pen Tool, you might not realize how important these shortcuts are, but I can speak from experience that knowing these shortcuts can be very useful when using the Pen Tool.

It’s a lot of fun, and it’s great practice. The goal of the game is to trace each object with the fewest amount of nodes possible. The more nodes you use, the more likely it is that your object will be jagged. To do this, we are going to draw one half of the object, and then mirror the other half. We no longer need the Ruler, so press Command or Control R to remove it. Press Command or Control R to bring up the Ruler.

With the Move Tool selected, click and drag from the side ruler to place a guide in the center of the document. Click and drag to create more nodes for your object, with your last point being on the guide line again. Place your starting point in the guide line. Press Command or Control J to duplicate our curve in the Layers panel. Now that we have a duplicate layer, flip it vertically by pressing the icon in the Toolbar. With the Move Tool, hold down Shift and drag it to the left. Holding down Shift will keep our duplicate curve in line with the first curve.

Unfortunately, it is still two layers. We want to combine these curves to have one object. Select the Node Tool. To do this, select both layers by clicking on them in the Layers panel while holding down Shift.

As you can see in the Layers panel, we now have one curve. With them selected, press the Join Curves option in the Context Toolbar. The nodes at the bottom of our shape are not connected. Return the node to where it was by pressing Command or Control Z. Click and drag a selection marquee to highlight both nodes. Move one of the nodes to see that even though we have one curve, it still isn’t a completely closed curve. We now have a closed curve. You can see this by clicking and dragging on the top node.

Press the Close Curve option in the Context Toolbar. We don’t need two nodes here though, so with the extra node selected, press Delete on your keyboard. Give the closed curve a Fill using the Color panel. We can still use the Node Tool to adjust any of these point if we want. For example, we can make the top node into a Smooth node instead of a Sharp node. Just select the node, then press the Smooth node button in the Context Toolbar.

We have now successful mirrored our curve, and have combined both curves into one symmetrical shape. Select the picture of the bird, then press Open. At the top of the screen, go to File, then Open. This picture of a bird sketch was taken on a phone. Because it’s a JPEG, you can see that when we zoom in, it quickly starts to pixelate.

Because of this, we want to use the Pen Tool to make a vector image of the bird so that we can make it as big as we want. Before we begin tracing, we need to brighten the photo so we can focus more on the lines. Press on the Adjustment icon. Increase the Brightness and Contrast sliders, then exit from the Dialog Box.

This adjustment has helped us to clearly see the lines. In the Layers panel, close the child layer by pressing the triangle to the left of the Background layer. Zoom into the beak to start tracing. The best place to start tracing is somewhere with a sharp corner, so the beak is a good place to start.

This tracing will not be perfect the first time, and we will go back to make adjustments once we have a closed shape. For now, just make a rough trace, and we can improve it later. As we go around the bird, click and drag to make curved lines. A good way to know where to make a node is to see where the curve is changing. If a curve is more steep, and then evens out, place your node where you see that change happening. Continue to click and drag all the way around the bird, excluding the feet, eye, and wing for now.

Now that we have a closed object, we can make adjustments with the Node Tool. To fix the tail of the bird, hold down Shift to adjust the handles, because the curve handles are coming out too far. While holding down Shift, bring in the right side of the curve handle. This way, the curve is only being changed on one side. Then move this node up slightly. Return to the other node, and adjust the handles to smooth out the curve.

Select the tip of the tail, then press the Sharp node icon in the Context Toolbar. Now that we’re done with the body of the bird, it’s time to work on the other parts of it. Now that the outline of the bird is looking good, let’s give the bird a Fill in the Color panel.

Uncheck the body layer in the Layers panel, so that we can see the Background image while we trace the eye and wing. When you click to finish the eye, you can see that we need to bring in the right side of the curve handle. Hold down Command or Control to bring up the temporary Node Tool, then hold down Shift to move in just the right curve handle. Press Escape to end the curve. Now trace the wing using the same process. Remember that you can bring in handles using Shift, or change nodes to Sharp nodes as needed.

Press Escape to start a new curve. Continue this around the foot. Make sure that you close your curve at the top of the foot. Because the body will go on top of the feet, don’t worry about where you start your curve.

When you get to the curve of a toe, end it right before the curve, then start a new node directly across from where you stopped, and click and drag quite a bit to get the toe rounded. Give each foot color in the Color panel.

Now that we’re done tracing the bird, select the Background image, then drag it to the trash can. Select the body layer, then increase the Stroke width in the Context Toolbar. To give the bird a background, select the Rectangle Tool. Click and drag a rectangle across the document. To get rid of the Stroke, select the Stroke circle in the Color panel, then press the no Fill icon that is beneath our color circles.

Change the colors of the color stops as desired. Change the Type to Radial in the Context Toolbar. The steps we took in this video can be applied to your own drawings. Just make a sketch, take a picture of it, place it in Affinity Designer, then trace it with the Pen Tool. Don’t worry about getting it perfect.

You can always refine your curve to make your drawing even better. Right now, the Special Shapes has the Triangle out, but if you click and hold on the Triangle Tool, you’ll see many other shape tools that you can use. As you might remember, there are a couple of shortcuts you can use with the shape tools. When clicking and dragging, you can hold down Shift to keep the shape perfectly proportional.

If you want to move or resize the shapes, you can use the Move Tool, or with the shape tool still selected, you can hover over the edges of the shape or use the handles to make adjustments.

All of the shapes inside of Affinity Designer, other than the Rectangle and Ellipse Tools, have orange handles that come with the shape. With this shape, the orange handle simply allows us to change the angle of the triangle. If the Move Tool is selected, the orange handles will not be available.

Select the Triangle Tool again. Using the orange handles is a great way to dynamically change the shape. While pressing down Shift, click and drag out a star.

Delete the triangle. Press and hold on the Triangle Tool, then select the Star Tool. You can also use the Context Toolbar to make more precise adjustments. Delete the star. Press and hold on the Star Tool, then select the Pie Tool. Click and drag on the orange handles to see how each handle affects the pie. One more option that we have is converting your shape to curves.

If you select the Node Tool, you’ll notice that you can’t affect the shape, other than adjusting the orange handles. Right now, the option to convert to curves is hidden in the Context Toolbar. Press on the arrows at the far right, then press Convert to Curves. The prebuilt shapes that come with Designer are a great resource because they allow you to use perfect shapes, without needing to draw them yourself with the Pen Tool. We can use Boolean operations after selecting two or more objects.

Select Red Circle 1 and Blue Rectangle 1 in the Layers panel by selecting one, then pressing Shift and selecting the other. Now that we have two shapes selected, we could select any of the operations.

Select the first operation, which is used to join the shapes. This operation combines the two shapes into one. Notice that the shape is blue. Press the first operation again.

You can see that this time, the combined shape is red. Depending on which shape is on top, the operation will be different. This time, use the second operation, which is the subtract operator. As the icon shows, it will delete the top shape from the bottom shape. The blue square has had the red circle removed from it. In the Layers panel, switch the layers so the blue rectangle is on top. Press the subtract operator. This time the red circle has had the blue rectangle removed from it. This is the intersect operation, and will take both of the shapes and make them into one inside the area where they overlap with each other.

In contrast, select the last square and circle, then press the last operation. This operation removes the part of the shape that was overlapping. This is the divide operation.

This operation is great if you want to keep all parts of the shape, but divide them into separate layers. After seeing the basics of the Boolean operations, let’s look at a more advanced trick that you can use.

First, we need to reset our document. Go to the History panel, then drag the slider all the way to the beginning. Now the document is reset. Hold down Alt or Option, then select the first operation. Like before, the shapes have been combined like they are one object, but this time they are a group, called a Compound group. Open the group by pressing the white triangle to the left of the group.

This is helpful because we can still select the circle and rectangle, and move them wherever we want, and they will still be combined. Making a Compound group gives us much more flexibility after we have applied the Boolean operation. In addition to moving around the layers, we can also change the Boolean operation.

Press the Boolean icon next to the circle layer. Change the operation to Xor, which means combine. To permanently combine the shapes, select the Compound group in the Layers panel, then press Convert to Curves in the Context Toolbar. Using the Node Tool, you can adjust the shapes. It is part of the “Affinity trinity” alongside Affinity Photo and the yet-to-be-released Affinity Publisher. Affinity Designer has been described as an Adobe Illustrator alternative. The application can also import data from some Adobe FreeHand files.

Affinity Designer provides non-destructive editing features across unlimited layers, with pan and zoom at 60 fps, and real-time views for effects and transformations. Secondly, we have been given permission to use data and images from Affinity Revolution. The purpose of this edition is very simple. By not using color images, the production cost and sales cost are significantly lower.

All images are of top quality. All lessons have been done in simple to follow steps with high quality screenshots to visually guide you on your path of self-learning. DIVThe Typography Workbook provides an at-a-glance reference book for designers on all aspects of type. The book is part of Rockport’s popular Workbook series of practical and inspirational workbooks that cover all the fundamental areas of the graphic design business. This book presents an abundance of information on type – the cornerstone of graphic design – succinctly and to the point, so that designers can get the information they need quickly and easily.

Whereas many other books on type are either very technical or showcase oriented, this book offers ideas and inspiration through hundreds of real-life projects showing successful, well-crafted usage of type. The book also offers a variety of other content, including choosing fonts, sizes, and colors; incorporating text and illustrations; avoiding common mistakes in text usage; and teaching rules by which to live and work by.

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