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Affinity designer export persona pdf free download.How to Use the Export Persona in Affinity Photo
The following is a brief overview of the steps taken to batch export files with Affinity Designer. For complete step-by-step instructions, please refer to the video tutorial below:. Simply grab the Artboards tool, click on one of the objects make sure that each affinity designer export persona pdf free download variation is grouped together, then select Selection from the drop expott menu in the tools settings.
All you have to do now is press the Affinity designer export persona pdf free download Artboard button and an artboard will be inserted around your object.
Artboards are like individual documents that you can create within a single document. Жмите artboard will be exported separately as its own document. To do so, navigate to the Layers menu in Affinity Designer. You can simply change the name of each artboard there.
This is where affinity designer export persona pdf free download will choose the file types to be exported along with the export location. Choose a layer and expand it. Thankfully Affinity Designer allows us to copy these presets and paste them into every other layer. Otherwise if you want to put everything in one folder then you can just export everything all at once. And with that we are finished!
If you want, you can now save this document in its native format. 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. I have a question that will help me in making the decision of either taking the Pwrsona class or taking psrsona class on Afinity. Hi Joshua, Inkscape and Affinity would both downloac great for ffee t shirt designs because they would allow you посмотреть больше create scalable vector graphics. Your email address will not be published. Save my name and email in this browser for the next time I comment. In this tutorial we’ll be going over how you can resize the artboard in Illustrator.
This is done by using a dedicated tool that allows you to scale the width and height in a multitude of It can be incredibly frustrating when you have the tools to produce something, but you don’t know how to utilize them effectively. This is certainly true if all you’re looking to do is save your work Skip to content. Thank you very much! Super Helpful and easy посмотреть еще understand. Much appreciated.
Awesome tutorial. Please advise. Leave a Reply Cancel reply Your email address will not be published. Read More. Become A Master of Affinity Designer! Become A Master of Affinity designer export persona pdf free download Illustrator!
Import and export file formats
Rather than comparing the processed image with the original raw data, you can sync the views so ‘Before’ adopts the current applied adjustments. The ‘After’ view continues to update as more adjustments are made.
See below for details. Syncing While applying adjustments, you can update the ‘Before’ and ‘After’ view to give you a more focused representation of the applied changes.
Show Clipping An incorrect level of exposure within an image can lead to pixels ‘falling out’ of the viewable intensity range. This results in the loss of detail in areas of shadow, highlights, or midtones and is known as clipping. This can help you identify areas which need correcting as well as preventing overenthusiastic modifications which result in clipping. To work in Develop Persona: 1.
Do one of the following: o Open a raw image. Develop Persona will analyze the data and pre-process it, ready for editing. Activate your preferred view mode. Adjust the image using the various panel options and tools. Optional Sync applied settings within the view and repeat the above step. On the context toolbar, select Develop. The photo or layer will adopt all the settings as displayed in the ‘None’ or ‘After’ view.
The ‘Before’ view is for comparison purposes only. When adjusting settings, you can double click each adjustment slider to reset it to its default value. To change initial develop settings: On the Toolbar, do the following: 1. Click the Develop Assistant to open its settings dialog. Choosing RGB 32 bit HDR allows you to maintain a full bit float environment from initial raw development to export and take advantage of extra precision.
The ‘Take no action’ option makes no tonal correction; the image can be altered within the Basic panel later. Like Histogram stretch, both ‘default’ and ‘initial’ give the same results but reports zeroed or actual values, respectively. The ‘Take no action’ option ignores the exposure bias value. If you choose not to apply initial develop settings, your images will not undergo any processing.
They may look flat, dull in tone and lacking contrast, but you will have absolute control in how the image is processed. This approach is similar to “log” video footage that maintains maximum dynamic range before color grading. Using overlays The Overlay tools can be used in combination with the Overlays panel to allow you to apply standard adjustments to isolated areas of an image.
About overlays Overlays are elements within Develop Persona which are placed on top of an image. Any adjustment applied to an overlay affects the image below. However, overlays can have a varying level of visibility, which varies the impact its adjustments have on the underlying image.
Areas of an overlay which are transparent ignore the overlay’s adjustments, while opaque areas display the applied adjustments. Areas of semi-transparency such as those created with the Overlay Gradient Tool will display the adjustments by a varying degree.
The adjustments applied to an overlay are determined using the Overlays panel. Types of overlay There are two types of overlay: Brush and Gradient. Brush overlays can only be edited using the Overlay Paint and Overlay Erase tools. Areas are added to an overlay using the Overlay Paint Tool. Areas are removed using the Overlay Erase Tool. The Overlay Gradient Tool applies a gradient from transparent to opaque across Gradient overlays only. The painted overlay appears softer and more feathered as the percentage decreases.
A Brush overlay is added automatically. A Gradient overlay is added automatically. To apply adjustments to an overlay: 1. On the Overlays panel, select an overlay. From the Basic panel, click an adjustment’s checkbox to activate it. Drag the adjustment slider to set the value. Click Reset to set the adjustments slider s back to default. To remove an overlay: On the Overlays panel: 1. Select an overlay. Click Delete Overlay. Basic Panel Develop Persona only The Basic panel provides standard adjustments which can be applied to an image.
The default value is the ‘As shot’ White balance setting from your camera. The pop-up menu populates with the preset name on saving. Tones Panel The Tones panel provides adjustments for correcting the tonal and color values of pixels in an image.
Details Panel Develop Persona only The Details panel provides adjustments to refine the edges of images and remove or add noise. Can be used in conjunction with the Noise Reduction adjustment. Lens Panel Develop Persona only The Lens panel provides adjustments which can be used to correct lens distortions which can appear in images.
Overlays Panel Develop Persona only The Overlays panel in combination with the Overlay tools allows you to apply standard adjustments to isolated areas of a raw image. About the Overlays panel The Overlays panel allows you to add new blank overlays to your raw image as well as setting the adjustments which are applied to individual overlays.
Focus Panel Develop Persona only The Focus panel reports the camera settings at the point at which the image was captured. You can change the ‘size’ of an image by scaling or resampling it. These can be undertaken independently or simultaneously.
Scaling Scaling will embed a specific print resolution into an image’s metadata to force it to print at a specific dpi e. The image’s pixel dimensions remain unaffected. This is known as upsampling.
This will also increase the image’s file size. This is known as downsampling. This will also decrease the image’s file size. To scale an image: 1. From the Document menu, select Resize Document. Ensure the Resample option is switched off.
Change the DPI to control the number of pixels dots which will be printed per inch when your document is printed. Set higher values e. Click Resize. You will see no change in the image on the page as this procedure only affects the image’s metadata.
To resample an image: 1. Ensure the Resample option is switched on. Enter your new document dimensions in the Size boxes—left box for width, right box for height. Optional Select a different measurement unit from the Units pop-up menu. Rulers will update to the new measurement unit. Select a Resample method from the pop-up menu. Use for hard- edge images. Resampling is smoother than Bilinear but has a slower processing time.
Available as ‘separable’ and ‘non-separable’; the latter gives marginally better results, but is slightly slower than ‘separable’. Instead of adding absolute input values you can enter expressions instead. See Expressions for field input for details. Before: Image upsampled 4x using Bicubic filter.
Observe the jaggy edges and ringing. After: Image upsampled 4x using XBR filter. See how the edges are smoother and more refined. To resize using pixel art filters: 1. If you are seeking very smooth results, it is recommended to try XBR as the resampling method. HQX produces sharper results but exhibits more jaggedness around fine edges. Changing canvas size In Affinity Photo there are options to resize the canvas of opened images and newly created documents. Changing the canvas size involves adding or taking away pixels from around the edge of your image, much like adding a border to a picture or cropping the image to a smaller size, respectively.
Unaffected pixels are not stretched or squashed. To change canvas size: 1. From the Document menu, select Resize Canvas. Enter your new canvas dimensions in the Size boxes—left box for width, right box for height. In the Anchor box, select alignment options to resize the the canvas ‘under’ the image from that anchor point. Cropping and straightening Cropping removes unwanted areas of your image for either practical reasons or better composition.
Straightening simply means correcting a crooked image. About cropping Use cropping for practical reasons or aesthetic reasons equally. For instance, an unwanted object or person can be excluded which might otherwise detract from your desired image. Aesthetically, you can balance image content in your composition so that it is more appealing to the eye.
Affinity Photo lets you crop unconstrained or to original or custom aspect ratios. For print or web delivery, you can specify common print sizes e. If snapping is active, the crop area can snap to page edges and guides when being resized or moved.
When a crop is applied, the regions outside the drawn crop area will be hidden. However, cropping is non-destructive, which means you can uncrop your image at a later date. Crop modes When cropping, you may wish to work unconstrained or to specific ratios or absolute dimensions.
Can be saved as a preset. Set your Units if needed. Straighten mode When activated, dragging on the page will orient the photo to align it with the drawn line. We recommend using a reference within your photo such as the horizon or the edge of a building. Compositional overlays If you’re cropping to remove unwanted subject matter in your image, compositional overlays can be ignored.
However, if you’re looking for better composition, one of several overlays can be used. Also known as Fibonacci Spiral or divine proportions. You can quickly toggle between these overlays by pressing O.
To crop an image: 1. From the Tools panel on the left, select the Crop Tool. From the context toolbar, select a crop mode from the Mode pop-up menu. Adjust the context toolbar settings. Drag a corner or edge handle on the grid to reposition the grid to suit.
From the context toolbar, click Apply. To straighten an image: 1. From the context toolbar, select Straighten. Drag on the image to define the new alignment. To save crop settings as a preset: 1. From the context toolbar, click the Mode pop-up menu and select Add Preset.
Type a name for the crop preset, then click OK. The new preset will appear at the bottom of the Mode pop-up menu. To delete a crop preset: 1. From the context toolbar, click the Mode pop-up menu and select the preset you wish to delete. Click the Mode pop-up menu again and select Delete Preset. Transforming Layer content can be flipped, rotated, positioned and sized accurately. Flipping an image horizontallyTo flip or rotate layer contents: 1. Select one or more layers. From the Arrange menu, select a flip or rotate option.
You can also rotate layer content directly on the page by dragging its rotation handle or by using the Transform panel. To position layer contents accurately: 1. To nudge layer content: 1. Select layer content. Do one of the following: o For nudging by a single unit of measurement: Press an arrow key. To size layer content accurately: 1. Select one or layers. Mesh warping Mesh warping lets you distort specific areas of your image without affecting other areas.
It can be used for dramatic warping effects or for more subtle focused retouching of facial features. The extent of warping you want to carry out is governed by the complexity of the grid. You’ll initially start with a mesh grid without lines, but adding your own lines and nodes lets you warp with ease.
Position lines adjacent to areas in your image that you want to apply warping to. To create a mesh: 1. From the Tools panel on the left, click the Mesh Warp Tool. Double-click on the edge of the mesh grid—the top edge gives a vertical line; a side edge gives a horizontal line.
Repeat for as many lines as you need. If you want to start again, click Reset on the context toolbar. To apply warping: 1. Optional On the context toolbar, use the Mode option to manipulate just the grid ‘Source’ or both grid and image simultaneously ‘Destination’.
Drag a node, a node’s corner handle, line or patch. Patch warping is achieved by clicking in an area contained by mesh lines and dragging the circle—this warps the entire area. Select Apply or press. The mesh is really just an assembly of bendable curves. When you alter these curves, distorting the grid, the underlying image deforms accordingly.
Perspective Perspective gives your image a three-dimensional appearance by applying a warp along one or more planes. By reshaping a supporting perspective grid you can transform your image. To apply perspective: 1. Optional For two opposing, but independent, perspective planes, select ‘Dual Plane’ on the Planes pop-up menu. Optional Use the Mode option to set the mode in which the grid will operate. Drag a corner handle on the grid. Use the to snap a grid handle to vertical or horizontal.
With Snapping enabled, the grid handles will snap to any page edge. About layers Layers allow you to edit and design using a non-destructive methodology. This gives you maximum flexibility for your photographic projects. What are layers? You can think of layers as being like sheets of paper that are stacked one on top of the other. Transparent areas of a layer reveal the layer below, while opaque parts of a layer obscure the layers below. All layer management is carried out from the Layers panel.
A layer at the top of the panel is at the front of your document and vice versa. The effect of layer order on a document. Create layers Empty layers can be created in the Layers panel or from the Layer menu. Layers are created above the currently selected layer. Once created, layers can be renamed for easy identification. If you copy a layer group, all layers within the group will be duplicated. This operation can also be performed between documents. In Separated mode only, you can also drag layers between documents from window to window.
By default, the Assistant will create a new layer to accommodate your paint strokes. To change a layer name: Click the layer’s label and type a new name. Layer opacity A layer’s opacity determines how see through a layer is and how much of the layer beneath is obscured or revealed. Before and after opacity reduced. Numerical keys can be used to quickly set the opacity of selected layers. Different levels of opacity can also be applied to brush strokes, filter effects and the fills of vector content.
From the Layers panel, select one or more layers. Use the Opacity control to set an opacity value. To quickly select an opacity value, drag left or right over the panel’s Opacity label. To use opacity quick keys: 1. Select a single layer or multiple layers. Press a numerical key, or two numerical keys in quick succession, to set the opacity. Layer blending A layer’s blend mode determines how the layer’s pixels or contents blend with the pixels on the layer beneath. Blend mode types Affinity Photo supports an impressive selection of different blend modes.
The top pixels display over underlying pixels according to the level of top layer opacity. Any layer can have a blend mode assigned. The default blend mode is ‘Normal’—no special compositing is applied.
For a layer group, the default is ‘Passthrough’ i. The same blend modes can be utilized on layer effects and brushes. To change the blend mode of a layer: 1. On the Layers panel, select a layer. Choose a blend mode from the pop-up menu on the panel. Layer blend ranges Blend ranges specify the range of colors on a current layer which are blended with the underlying layer s. About blend ranges Blend ranges allow you to specify how tonal values of a layer blend with the layer s below. You can set the range of the tonal values affected and can set the range to have any level of opacity from opaque to transparent.
Before and after blend range applied. The blend range of the selected layer and the underlaying layer s is controlled in the Blend Ranges dialog. You can change the blend range for individual color channels within the dialog. About blend gamma and antialiasing RGB documents only The Blend Ranges dialog allows you to adjust the blend gamma of the selected layer.
This gives you the option of designing using a linear-RGB color space 1. In other words, it gives you full control over how the tones of semi- transparent or antialiased edged objects interact with colors underneath. Blue rectangle using regular sRGB-blending 2. By default, text layers are set to a gamma of 1. These default settings can be changed in Preferences Tools options. Antialiasing is the reduction of the jagged appearance of lines on a pixel grid.
Antialiasing is achieved by the addition of semi-transparent pixels along the line to smooth the transition from the line’s edge to background objects. This area of transition is sometimes referred to as the antialiasing ramp or antialiasing coverage. In the Blend Ranges dialog, you can adjust the antialiasing ramp coverage of the selected layer. Antialiased line with linear coverage map before and custom coverage map after.
Type directly in the text box or drag the pop-up slider to set the value. If this option is off, nodes are connected using smooth curves. To change blend ranges: 1. On the Layers panel, select a layer and then click Blend Ranges.
Adjust the settings in the dialog. Close the dialog. To modify the antialiasing ramp: 1. Click the Coverage Map thumbnail. From the displayed chart, select a node on the profile’s line and drag it vertically or horizontally to a new position. Repeat for other nodes as needed. For more complex profiles, click on the profile line to add a node which can be positioned as for any generated node. To remove antialiasing, set a straight, horizontal profile line at the top of the chart.
To reset antialiasing ramp to linear: 1. From the displayed chart’s pop-up dialog, click Reset. The profile shows under the chart.
To apply a custom coverage map profile: 1. Select a custom profile thumbnail from below the chart. The chart will update, showing the chosen profile. Using adjustment layers Adjustment layers allow you to make non-destructive corrections and enhancements to your photo project or individual layers. Before and after a Recolor adjustment layer was applied. About adjustment layers The Adjustment and Layers panels provide a range of adjustments you can apply to your photo or design.
Once selected, an adjustment layer is added to the Layers panel. There may be times that you only want to apply an adjustment layer to either a single layer or a group of layers.
This is easily achieved by clipping. Adjustment layers also have mask layer properties. Areas of an adjustment layer can be revealed or hidden in the same way as with a mask layer. If you have a pixel selection in place when you add an adjustment layer, the area selected is automatically masked.
To apply an adjustment from the Layers panel: 1. Click Adjustments and select an adjustment from the pop-up menu. If a dialog appears for the adjustment, follow the steps below: i. Close the dialog to apply. The adjustment is added directly above the selected layer. To modify, merge or delete an adjustment layer: 1.
On the Layers panel, double-click the adjustment layer that you want to modify. Close the dialog to apply the changes, Merge to apply the changes and merge the adjustment with the layer beneath, or Delete to remove entirely.
To mask an adjustment layer: 1. On the Layers panel, select the Adjustment layer. Do any of the following: o To ‘erase’ from the mask, paint with the Erase Brush Tool. Adjust the gradient colors from the context toolbar. Using Live Filters Live Filters allow you to apply filter effects such as blurring, sharpening, noise and distortion non- destructively, meaning you can modify or remove the effects without having to use the History panel to undo other operations on your work.
About live filters Live filters provide a way of applying creative effects to your images whilst retaining the ability to modify the effect settings or remove the effect altogether. The filter is added to the active layer, similar to applying Adjustment Layers.
If you have a pixel selection in place when you add a live filter, the area is automatically masked. To modify, merge or delete a live filter: 1. On the Layers panel, double-click the live filter that you want to modify. Adjust the settings in the dialog; the changes will be applied in real time. Close the dialog to apply the changes, Merge to apply the changes and merge the adjustment with the layer beneath, or Delete to remove the filter layer entirely.
To mask a live filter: 1. On the Layers panel, select the live filter. Blur filters. Gaussian Blur The Gaussian Blur filter is used to reduce image noise or detail by creating a pleasing, smooth blur using a weighted average. Gaussian blur added to the water. About the Gaussian Blur filter This filter can be applied as a non-destructive, live filter. Type directly in the text box or drag the slider to set the value.
Box Blur The Box Blur filter blurs an image based on the average color of neighboring pixels. At high radius levels, this results in an obvious ‘box’ effect. At lower radius levels, it results in an effect similar to Gaussian Blur.
About the Box Blur filter This filter can be applied as a non-destructive, live filter. Median Blur The Median Blur filter broadens color regions in the image. At much higher intensities it introduces flat areas of color.
Median Blur on a photograph. About the Median Blur filter This filter can be applied as a non-destructive, live filter. At high levels it creates large, flat areas of color. Bilateral Blur The Bilateral Blur filter blurs an image while retaining areas of high contrast. As these contrast changes most commonly occur at edges, it makes the filter very useful both for noise reduction and for creating interesting stylistic effects. About the Bilateral Blur filter This filter can be applied as a non-destructive, live filter.
At larger tolerance values, pixels with greater tonal differences will be included within the blur. Motion Blur The Motion Blur filter blurs in a specified direction to give the impression of movement. This gives an effect similar to panning with a camera at slower shutter speeds.
Motion Blur can add the impression of speed or movement to images. About the Motion Blur filter This filter can be applied as a non-destructive, live filter. Drag the dial to set the value. Lens Blur The Lens Blur filter mimics the blur applied to a photo when a wide aperture is used to achieve a narrow depth of field.
It can be used to improve the composition of a photo by applying a shallow depth of field to blur unwanted background. Unlike the Gaussian Blur filter, the Lens Blur filter recreates the the bokeh effects generated with a real camera lens. About the Lens Blur filter This filter can be applied as a non-destructive, live filter. The shape of the iris affects the shape of the specular highlights bokeh. The most noticeable bokeh shapes are created using a low blade curvature and fewer aperture blades.
To mimic the effects of your own lenses, be sure to match the number of aperture blades. Depth Of Field Blur filter The Depth Of Field Blur filter applies a blur gradient that can be used to simulate extreme depth of field and miniaturization effects, such as tilt shift.
Using the Tilt-Shift mode to produce a miniature model effect. About the Depth of Field Blur filter This filter can be applied as a non-destructive, live filter.
Modifying the applied blur gradient The gradient stops determine the position and extent of the transition between the areas in sharp focus and those that are blurred. The focus origin A defines the central point at which the image is kept completely in focus. Reposition the focus origin by dragging on the stop. The inner lines B define the width of the area in focus.
For the Tilt Shift mode these can be set independently by dragging each of the stops in turn, or, symmetrically by dragging one of the stops while holding the.
The Elliptical mode always matches the shape of the inner lines to the outer lines so that only the width can be specified. The outer lines C define the end of the blur transition.
For the Tilt Shift mode, these can be set independently by dragging each of the stops in turn, or, symmetrically by dragging one of the stops while holding the. The Elliptical mode always sets the stops in pairs. The transition areas D between the inner and outer lines are where the blurring gradually increases. The wider the lines, the more gradual the transition. The area on the outside of the lines has the filter applied at the full amount set by the Radius slider.
The angle of the filter can be changed by dragging the stops at an angle. Once the desired angle is achieved, holding the will temporarily lock the angle to allow for further adjustment of the width of the adjustment. When using the tilt shift effect to “miniaturize” a scene, you will get the best effect if you choose your images carefully.
Models are generally viewed from above, so the tilt shift effect will work best on images taken with an elevated viewpoint and a wide angle of view. Buildings, roads, traffic and railways make excellent subjects. Field Blur filter The Field Blur filter lets you control blurring at specific areas of your image.
About the Field Blur filter Against a uniformly blurred image, one or more selection handles can be added, positioned and edited to control the extent of blurring at that handle position, i. Multiple areas of focus can therefore be created.
Handles are independent of each other and can be repositioned and edited individually. This filter can be applied as a non-destructive, live filter. Decreasing the value brings the image under the handle increasingly into focus. A selected handle shows as a double ring, as opposed to a single ring deselected.
Diffuse Glow Diffuse Glow broadens highlights in the active layer or selection by brightening gradually outward from existing highlights, producing a soft halo effect. This creates a romantic, almost dreamy effect, similar to that of photographing an image through a soft diffusion filter. Using diffuse glow to add intensity and softness to the highlights of an image. About the Diffuse Glow filter This filter can be applied as a non-destructive, live filter.
As the tolerance decreases, the effect spreads to areas that were darker to begin with. Sharpen filters. Clarity The Clarity filter enhances the local contrast in an image.
Its greatest influence is in the mid-tonal range. This results in a sharpening effect. Using the Clarity filter to accentuate the outline and details of the image’s subject. About the Clarity filter In Photo Persona, this filter can be applied as a non-destructive, live filter. In Develop Persona, this filter is available on the Basic panel Enhance. Setting the value via a text box is not available in Develop Persona. Unsharp Mask In spite of its misleading name, the Unsharp Mask filter is a flexible and powerful way to increase apparent sharpness in an image.
Unsharp Mask can be used to add punch to an image, or to help sharpen soft images. About the Unsharp Mask filter This filter can be applied as a non-destructive, live filter. A smaller radius enhances smaller scale detail.
Use higher values for grainy images or skin tones. The Unsharp Mask filter affects the whole image or selection. High Pass The High Pass filter retains details where sharp color transitions occur, generally at the edges, and suppresses the rest of the image. High Pass filter applied with an Overlay blend mode for sharpening. About the High Pass filter When a High Pass filter is applied at a high radius value to a duplicate layer and combined with a contrast blend mode such as overlay, soft light or hard light , it can be used as a useful sharpening technique.
At higher radius values, only edge pixels are kept. Distort filters. Ripple The Ripple filter adds a watery, undulating pattern, like ripples on the surface of a pond. The Ripple filter used to achieve a unique effect. About the Ripple filter This filter can be applied as a non-destructive, live filter. Drag on the image to set the origin. Twirl The Twirl filter applies a clockwise or counter-clockwise distortion effect to images.
The Twirl filter applied to a fireworks photograph. About the Twirl filter This filter can be applied as a non-destructive, live filter.
Negative values give a counter-clockwise effect, positive values give a clockwise effect. Spherical The Spherical filter gives objects the appearance of being wrapped around a spherical shape, distorting the image and stretching it to fit the curve. Sharks have good days too! About the Spherical filter This filter can be applied as a non-destructive, live filter. Negative values give a concave effect, positive values give a convex effect. Displace The Displace filter applies distortion according to a pattern defined by a displacement map.
The lightness values of pixels within the displacement map determine the degree to which the distortion occurs. Using a texture as a displacement map to blend objects together. About the Displace filter This filter can be applied as a non-destructive, live filter.
Negative values shift pixels upwards, positive values shift pixels downwards. If this option is off, the displacement map retains its native dimensions. Pinch creates a concave spherical distortion squeezes an area and Punch creates convex spherical distortion bulges an area. Negative values give a pinch effect, positive values give a punch effect.
Lens Distortion The Lens Distortion filter provides a way of correcting distortion caused by the curvature of a camera lens. It’s especially useful for correcting barrel distortion where straight edges are bowed outwards , or for correcting pincushion distortion where straight edges are bowed inwards.
About the Lens Distortion filter This filter can be applied as a non-destructive, live filter. Drag to the left negative value to remove barrel distortion, drag to the right positive value to remove pincushion distortion. It’s also useful to turn grids on so that you can see when the lines are straight. Perspective The Perspective filter can be used to either correct converging perspective lines caused by lens distortion, or to apply perspective for a creative effect.
Lens distortion can often cause the perspective of a photo to be out, creating the appearance that lines are not vertical or horizontal when they should be. About the Perspective filter The Perspective filter can be adjusted in single or dual plane mode, if applied via the Filters menu Distort category.
If using the non-destructive, live filter, only single plane mode is available. When the perspective filter is applied, the image is stretched and cropped to the original canvas size.
If this option is off, only anchor points and lines display. If disabled, the image will look continuous; if enabled, the image will have visible seams where the perspective tool has been applied that can then be retouched. When selected, your page displays the adjusted and original images simultaneously with a sliding divider which can be repositioned and shows ‘Before’ and ‘After’. Noise filters.
Denoise The Denoise filter is a powerful form of noise reduction. At higher settings, it also creates a really pleasing, posterizing effect. About the Denoise filter This filter can be applied as a non-destructive, live filter. Higher values will give a better quality finish but the application of the filter will take longer. This process is very complex and therefore may take some time to apply. Add Noise All digital images have a certain level of noise random pixel distribution which helps to create atmosphere, texture, and depth.
After image manipulation, such as resizing, cloning, applying gradients, etc. The Add Noise filter adds random pixels to the image, introducing a level of noise to help return the textures in the image.
This also helps to seamlessly blend effects. About the Add Noise filter This filter can be applied as a non-destructive, live filter. It is often best used in color images.
It’s often the best choice for grayscale images. Diffuse The Diffuse filter adds noise to the edges in the image or selection. About the Diffuse filter This filter can be applied as a non-destructive, live filter. Color filters. Vignette The Vignette filter can be used to either add vignetting to an image, or remove it from the image. About the Vignette filter This filter can be applied as a non-destructive, live filter.
Negative values darken the effect, positive values lighten the effect. Defringe Purple fringing, or bichrominance as it’s more correctly termed, is a form of chromatic aberration caused by the over-excitation of the pixels on the sensor in the camera. The effect can occur anywhere within an image but it’s most common at the edges of high contrast areas, especially when a dark element is strongly backlit, such as branches silhouetted against a blue sky.
The Defringe filter selectively adjusts these areas to remove the color fringing. Using the Defringe filter to remove purple fringing from the window edges. About the Defringe filter This filter can be applied as a non-destructive, live filter. On selecting the Defringe filter, it will default to settings which remove the purple fringing, as this is the most common type. This can be manually adjusted as necessary in the dialog, or by sampling the fringe color on the page to remove it.
Drag the slider or click on the image to define the hue. Lighting effects The Lighting feature simulates lighting from one or more light sources. About lighting Lighting effects simulate ambient, point, directional, and spot lighting in your design. You can supplement the single light source with additional light sources for more advanced lighting control; different light source types can be used in combination, each being independently configured and positioned using on-screen handles.
Affinity Photo also lets you create lighting effects from 3D bump maps made from texture inherent in any image. Source types Different source types give dramatically different results. The types are best imagined with a few examples. Casts light directionally from infinity, e. Lighting effects can be applied as a non-destructive, live filter, which can be accessed via the Layer menu, from the New Live Filter Layer category. Higher values reflect more light.
Set the value lower for larger and more widespread highlights; higher for smaller, sharper highlights. You can Add, Copy or Remove additional light sources.
Use Clear bump map to remove any applied map. To apply a spot light: 1. From the Filters menu, select Lighting. From the Type pop-up menu, select ‘Spot’. Drag the on-screen handle at the apex of the ‘fan’ shape to adjust the distance and direction of the light. Optional Drag the Elevation handle situated along the center line to set the height of the spot light above the page. Optional Drag the outer and inner handles at the end of the fan to set the outer and inner cone, respectively.
To apply a point light: 1. From the Type pop-up menu, select ‘Point’. Reposition the default point light by dragging the center handle over a subject of interest. Drag the circle’s edge inwards or outwards to set the light’s distance from the page. To apply a directional light: 1. From the Type pop-up menu, select ‘Directional’. On the Lighting panel, drag the cross-hair within the Direction dial.
To load a 3D bump map: 1. On the Lighting panel, click Load bump map, navigate to, then select your image. Adjust Texture to set the amount of texture displayed.
It can be used to reduce contrast, boost shadow detail and recover highlight detail. Moving the slider to the right will boost a greater range of shadow tones. Moving the slider to the right produces a stronger contrast, similar to the Clarity filter.
Move the slider to the left for a flatter result. Move the slider to the right to recover a greater range of highlights. Moving the slider to the right produces a stronger contrast, moving the slider to the left produces a smoother result but may make posterization more visible. Fill layers Fill layers contain an adjustable solid or gradient color. They can be used for photo editing and corrective or creative purposes.
Fill Layer radial gradient based on model’s lipstick color. A fill layer will automatically resize to fill the page if the canvas size is modified. A new layer is added above the current layer or at the top of the Layers panel if no layer is selected with a solid color applied.
You can use the Color panel or Swatches panel to update the solid color. Color picking from another layer is also popular for harmonizing colors. For details see Selecting colors. To apply a gradient to a fill layer: 1. Select the Gradient tool from the Tools panel.
From the context toolbar, select a fill type from the Type pop-up menu. Drag the cursor across the content. Once applied, you can modify the gradient and its colors to suit your specific needs. For details see Gradient editing. Snapshot layers A snapshot layer is created from a predefined project snapshot and is added to your project as a single, flattened pixel layer. The snapshot layer is added above the current layer or at the top of the Layers panel if no layer is selected.
Layer masking A layer mask is used to reveal a portion of a layer while the rest of the layer remains hidden.
This means that you can use a mask layer to ‘delete’ areas of a layer that you don’t want. Masking can be applied at any level in the Layers panel—as an independent mask layer or applied to a specific layer or to a layer group.
This is governed by the mask layer’s positioning in the layer stack. The non-destructive power of masking Masks are applied as a separate layer, allowing them to be freely edited and moved. Mask layers affect any layer below them within the Layers panel. They can also be clipped to individual layers so that only that layer is affected.
Alternatively, mask layers can be added to layer groups so they only affect that group. Adjustment layers and Live Filter layers also have mask layer properties. The added mask will hide areas outside a selection if a selection is in place or display the entire layer if no selection is in place.
The added mask will hide the entire layer regardless of any selection in place. The selected layer becomes a mask for the layer below it. By default, a created mask layer is clipped to the selected layer or added at the top of the Layers panel if no layer is selected.
It can be moved within the Layers panel to affect greater or lesser areas. You can create a mask from a selection which has been ‘painted’ on your image using Quick Mask mode. See Edit selection as layer using Quick Mask mode for more information.
You can use the Pen Tool to draw a closed shape that can be made into a mask. From the tool’s context toolbar, click Mask.
To create a luminosity mask: 1. On the Layers panel, click on the layer’s thumbnail with the and s pressed. From the Layers panel, click Mask Layer. To edit a pixel mask: 1. On the Layers panel, select the mask thumbnail representing the mask layer. Do one of the following: o To ‘erase’ from the mask, paint on the page using the Erase Brush Tool. A white fill completely restores, while greyscale fills partially restore the mask by varying amounts.
To refine a pixel mask: 1. On the Layers panel, select the mask’s thumbnail. From the Layer menu, select Refine Mask. To invert a pixel mask: 1. Do one of the following: o From the Layer menu, select Invert.
To return to normal view, click the thumbnail or press the. To add a vector mask: 1. Add vector content, e. On the Layers panel, drag the created vector content’s layer directly onto the thumbnail of another ‘target’ layer.
The thumbnail of the target layer changes to indicate that a mask and crop has been applied. To add a pixel mask to vector content: 1. On the Layers panel, select a layer with vector content. Therefore, you can move the three panels from the right anywhere you want.
The View Tool lets you move the image in the workspace. The Zoom Tool provides zooming methods by dragging or clicking. The menu is reduced to the entries that apply to the Export Persona too. This airy interface helps you focus on export only. Slices are the most powerful feature of the Export Persona. By creating slices, you tell Affinity Photo to export only specific areas of the image. The Slice Tool is a simple selection tool. You can define a slice by dragging the mouse over the image but also by introducing the position, width, and height of the area in the Transform panel.
If you prefer an aspect ratio, you can lock it, set one dimension, and let Affinity Photo compute the other dimension. You can create as many slices as you wish and adjust them at any time. The Export Persona displays individual marks for each slice thus you will see all of them, all the time. It also displays the list of slices in the Slices panel on the right. The editor creates by default the first slice in the list, which represents the entire image.
You can align slices horizontally and vertically. Moreover, you can move them forward or backward to make things easier for you. Use the alignment toolbar from the top right to arrange your slices. You can also rename slices, set up a common path for files exported from the same slice, and configure specific parameters for Apple app icon design. Each slice can be exported more than once, using a different set of parameters, which includes:.
To export all the slices, click the Export Slices button. After using the Export Slices functionality and setting an export folder for your files, you can check the Continuous check box, which will automatically export slices if their content modifies. Therefore, you can forget about the export and focus on defining the areas you want to export and managing layers. It allows you to export simultaneously, in different file formats and with different scaling factors, individual areas of the image.
Furthermore, you control file names, image size, and quality. The Export Persona gives you access to the list of layers so that you could decide which layers you want to export. This is especially useful when you have multiple edits of the same image or text layers. By activating the first eye at the end of the layer row in the Layers panel, you make the layer visible in the exported file.
By activating the second eye at the end of the layer row, you make the layer visible on the screen. Furthermore, the Export Persona allows you to create slices from layers by selecting the layer and pressing the Create Slice button. For example, you can export a text layer as a PNG file to preserve transparency and use it in other projects.
The Export Options panel allows you to set specific export attributes. It works in two modes: Selection and Defaults, meaning you can set default settings for regular use and specific settings for the selected slice.
Export settings include file formats and predefined export options for them presets , resampling methods, and metadata. Each file format comes with its additional settings such as image quality, ICC profile, compression factor, or compatibility for PSD format. You need a good workflow when you edit a lot of photos. The Export Persona saves you time. It also helps you have a roundabout body of work and make the most of your photos. Editing and presenting are important steps in the artistic process as well.
The Export Persona is a great tool for creating covers, social media posts, and multiple versions of the same image. But the most important feature of the Export Persona is the possibility to export areas of an image without altering the image in any way.
You can define multiple slices for export and, for each of them, multiple sets of export parameters. After defining everything that interests you, a single button will export everything in different folders and file formats; with meaningful file names and specific sizes. At the Affinity Photo forums , you can get additional help for the more advanced features of the Export Persona in Affinity Photo.
Affinity designer export persona pdf free download
Page: View: Affinity Photo continues to be the fastest-growing, new photo editor on the market today and is quickly becoming the first choice for creative professionals and photographers alike. The Affinity Photo Manual was created with new users like you in mind to help you quickly and with as little effort as possible increase your confidence and proficiency in learning this software.
Feel free to email us to ask for a full list of all of the images used in this book. We have a list of the images with their hyperlinks in a Word. Presents information on the fundamentals of graphic design and color theory, providing tips on ways to talk to clients about color and how to use color in presentations. From the meanings behind colors to working with color in presentations, Color Design Workbook provides you with the information needed to effectively apply color to design work.
Since color is such an important part of graphic design, designers need the most up-to-date, as well as the most fundamental, information on the subject to have the tools needed to use color effectively.
The Color Design Workbook, New, Revised Edition explains the meanings behind colors, working with color in presentations, and loads more. This guide book provides you with the vital information needed to creatively and effectively apply color to your own design work.
You will also receive guidance on talking with clients about color and selling color ideas, and you’ll also learn the science behind color theory. Case studies are included to show the effects some color choices had on both their clients and consumers. So why wait any longer? Become a color expert now! A tale of Freiburg im Breisgau in Reformation days, it was quite well known in America by reason of the fact that it was frequently read as a text by students of elementary German.
This workbook will guide you in a step-by-step manner teaching you the first 10 skills all new users need to know how to use. We hope you enjoy this practical guide to getting a great start with Affinity Designer. 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. With this updated resource, a team of experts shows you how Reporting Services makes reporting faster, easier and more powerful than ever in web, desktop, and portal solutions.
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