Up and Running with Affinity Designer – Affinity designer reset canvas rotation free download

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Select the view that you prefer. Now you can click-drag on the active image and rotate it just like with a single image. When you let go of the mouse, all other open images will rotate to the same angle. Just make sure that Rotate All Windows is checked in the Options bar. Do you do all your work in Photoshop with the image in its original view, or do you prefer to rotate it? Let us know in the comments below. If you instead wanted to rotate individual layers or rotate an image in Photoshop, you should use the transform tool to rotate.

Instead, use the free transform tool for rotating the background layer. As you have seen the rotate view tool rotates the canvas or the image window, and not the image itself.

This is useful, to better use the, i. Do you ever rotate the canvas in Photoshop? Let us know in the comments how you use this feature! I make sure that you get the best articles about photography. Personally, I prefer to shoot landscape, nature and macro photography.

A general purpose image rotation, position, and scale. However, if you rotate the canvas of the image, the rotation is reflected in the printed image. Then you can click and drag to rotate the canvas without affecting its content. Note that we also need to save the current transformation matrix of the Canvas and restore to the identity matrix when we are done.

Rather than rotating the document permanently, you can rotate the document view instead. In case the angle is negative, the rotation is counterclockwise.

C CSharp Android. Then, swap the currently listed width and height dimensions. This uses the fast internal blitting to make it happen in a hurry.

You must hold down the mouse button as the cursor of the tool is placed in the image window. You can’t rotate the canvas itself because Illustrator doesn’t treat it as an editable, selectable object, but you can change the orientation of individual artboards and the artwork that appears on them. To review, open the file in an editor that reveals hidden Unicode characters. We have to do a trick to achieve it.

Rotate canvas My laptop is too slow to have canvas rotation on; is there a way to have the 90 degree rotations have keystrokes, and rotate around the center of the current view? This allows you to view your document from a different angle without manipulating its layout.

The shape rotates around the pin. You can also rotate your canvas or flip it horizontally or vertically. If it is difficult to draw at the current angle, you can rotate the canvas to an angle that makes it easier to draw. These work in just about every program out there, exceptRotate shape on canvas to any specified degrees angle on android activity on button click.

Each time you click on it, your video will be rotated in the anti-clockwise direction. You can rotate an image or the canvas by a predefined amount, or you can choose the amount of rotation. To rotate the canvas and assign a shortcut using Python, you could use something like the following which you could paste into the Python Console:. The negative effect reproduces the look of a film negative. But 2. The rotate method allows you to rotate a drawing object on the canvas. Rotate extracted from open source projects.

Because a canvas app created for a phone uses coordinates that are effectively double the coordinates used in other apps, the default values in the SizeBreakpoints property for that type of app are [, , ]. Rotate an image, clockwise or counterclockwise. Otherwise, if anyone can suggest an editor preferably free that will allow me to rotate a.

Try to select area on a canvas. Here we draw a radialgradient and rotate it with 2 radians with a time interval of 50 milliseconds. Now, to rotate it you need to hover your mouse over one of the four corners. I want the image to rotate but something is not correct in my code. Canva is an easy-to-use graphic design platform that creates beautiful designs with professional layCanva is one of the best options if you’re looking to create your own greeting cards, as it’s largely free and easy to use.

The rotation will be applied automatically. Essentially those devices embed rotation code that Canvas does not read. I love using Krita and the community it holds, and I have a problem.

This one worked for me perfectly. Canvas Object. Hold the Alt key on your keyboard and click anywhere on the guide to establish the rotation center point. If you prefer to think about angles as degrees , you can use the radians method to convert your values. If you need an introduction about HTML5 canvas rotation feature, you can take a look to the following link: httpRotate the canvas by the desired angle in radians. In the demo project, I’m going to rotate a square using. When adding a rotation, the rotate method uses the canvas origin as the rotation center point.

The code is taken from this example, which I believe was made for the transformations part of the MDC canvas tutorial. Risk Risk Custom hand-stretched for your order. Open MainActivity. The parameter ‘angle’ should be radians not in degrees. Step 7. Press Enter to I’m not sure how to fix it, but there are also 2 quick ways of rotating: on the edge of the popup colour wheel, there’s a small circle you can move around to rotate the canvas; on the bottom right of the screen, there should be a little radar-circle-thingy that you can use for rotation HTML5 provides several transform operations: scale, translate, rotate and others.

Is there any shortcut to rotate the canvas when using it in Mac? Of course you should use clearRect in order to erase the canvas on each rendering. Top right is an icon which allows you to copy the uncutted rotated image to the clipboard. For example translate , moves the origin of coordinates to point , , so the rotate method will refer point , as the origin of coordinates. How do I rotate an object in Krita? Yes, in Krita 2.

All Forums I’m not sure how to fix it, but there are also 2 quick ways of rotating: on the edge of the popup colour wheel, there’s a small circle you can move around to rotate the canvas; on the bottom right of the screen, there should be a little radar-circle-thingy that you can use for rotation To rotate an image in Adobe Photoshop you can use commands from the submenu Image – Rotate Canvas.

Map canvas rotation is being added as a feature to QGIS 2. The canvas will be rotated in 15 degree increments. However, it only lets you rotate in 90 degree increments. Keep in mind that primary usage of this plugin is to only rotate “IMG” elements 2 Rotate Canvas Flip When you would like to rotate or flip the entire canvas but not layers, go to the menu and click ‘Edit’ and select the direction you want to rotate in.

The rotation center point is always the canvas origin. We will use this picture as an example to show Rotation and Flip. The quickest way to resolve this would be to open the image on your computer, then right click on it to perform a “save as”. Fiddle meta. We will give JavaScript coordinates where the particle we want to rotate is, we save the current state of canvas context, we translate center of canvas to center of that particle, we rotate the Rotate the coordinate system of the entire canvas reference coordinates are the 0,0 position of the canvas Zoom canvas can.

To animate a shape’s rotation with Konva, we can create a new animation with Konva. The room may still be spinning after the New Year celebrations but at least after this, you’ll be able to rotate your images to counter the effects! You probably know we have this handy canvas contextSo I basically want to rotate single sprites on the canvas without rotating the whole canvas, is that someway possible.

Rotate Method. Here is the syntax of the rotate method: The rotate method accepts a rotation angle in radians. Syntax for rotate Method in HTML5 CanvasHTML5 canvas provides rotate angle method which is used to rotate the canvas around the One more thing this is also important that the rotation center point is always the canvas origin but you canHTML5 canvas provides rotate angle method which is used to rotate the canvas around the current origin.

Is this page helpful? Applies to. API docs for the rotate method from the Canvas class, for the Dart programming language. Finally, the last problem to solve: what if you want to rotate the whole canvas, but not really—just for a moment, to see what it looks like from a different perspective? It’s very easy—just press R to use the Rotate View Tool. The rotate is a method of the 2D drawing context. Method 2, Rotate on Canvas. Right click on the desktop and select Display settings.

When we’re finished we restore the canvas restore it to its original orientation. I’m not sure how to fix it, but there are also 2 quick ways of rotating: on the edge of the popup colour wheel, there’s a small circle you can move around to rotate the canvas; on the bottom right of the screen, there should be a little radar-circle-thingy that you can use for rotation Note: Canvas size is different than image size.

Create or open an existing design, and refer below for flipping and rotating elementsSince the Rotate View Tool rotates the canvas, not the image itself, the image is never harmed.

Select the entry for Arbitrary and add a shortcut. I mean there’s no way to draw naturally if you Knowing how to rotate a PowerPoint slide can add a bit of uniqueness others don’t often consider. As with the previous method, choose the select tool, and then select the object How to Rotate the Canvas in Photoshop.

More info See in Glossary elements should be inside. Select the [Move] tool from the [Tool] palette and select the [Rotate] sub tool from the [Sub tool] palette.

Free tips. One of the most expected features of HTML5 was the introduction of the canvas element, allowing to draw graphics on it. The rotation is performed counter-clockwise. These aspects will resize to fit the new layout, but it may not look like the original Design Let me demonstrate three of them. Rotating the Canvas New in v0.

We will give JavaScript coordinates where the particle we want to rotate is, we save the current state of canvas context, we translate center of canvas to center of that particle, we rotate the Rotate an image, clockwise or counterclockwise. Hold down on the rotate icon below the text box and drag to rotate the text in the direction you need. I’m not sure how to fix it, but there are also 2 quick ways of rotating: on the edge of the popup colour wheel, there’s a small circle you can move around to rotate the canvas; on the bottom right of the screen, there should be a little radar-circle-thingy that you can use for rotation Rotate 90 degrees and copy image to canvas This is part of the Canvas, images and pixels tutorial.

The widget that appears when the canvas view is rotated can be used to navigate between angles. Do this enough times and the quality of the image will suffer. The Rotate view feature lets you conveniently design your logos, packaging, page layouts, typography, and other illustrations by changing the canvas view at any angle.

Here’s a video posted by Faunalia of the feature. Remember that degrees is one full rotation, and 3. Rotate a shape using the rotation handle. Based on the comments above, but a bit more simple and in vanilla.

To define the rotation point, Rotating the Canvas. I can no longer pinch and rotate the canvas with my fingers and the quick buttons are so hard for me to use. Drag a rotation handle. Just below the top menu bar and still on the left-hand side of the layout, you will see the three Persona icons for the Designer , Pixel , and Export Personas. This is called the Persona toolbar. See The Persona toolbar section for a more in-depth look at the Persona toolbar. Continuing along the same horizontal bar and just to the right of the three Persona icons is an area known simply as the Toolbar.

See the The Toolbar section for a more in-depth look at the Toolbar. Just below the Toolbar is the context toolbar. See the The context toolbar section for a more in-depth look at the context toolbar. Moving over to the left-hand side of the layout, we find the Tools panel. See the Navigation tools — overview section for a more in-depth look at the Tools panel. The central workspace area containing my white page is known as the Document View.

The dark gray area around my page also contained within the document view is called the Pasteboard. See The document view and artboards — overview section for a more in-depth look at the document view and pasteboard. The last area of the default interface to cover is the wide column along the right side of the layout. The area is known as the Right Studio. Now that we have seen where the main areas of the interface are located in the default layout, let’s begin to take a look at some of these individual areas a little more closely, starting with the top menu bar.

No chapter entitled Getting Familiar with the Affinity Designer’s Interface would be complete without a quick look at the interface’s top menu bar.

As this is an overview, a lot of these menu items will be covered or touched on as we go through the book, especially in the three practical exercise chapters Chapters Once again, these menu bar items and the drop-down menu lists that follow are from the macOS desktop version of the software.

There may be some slight differences in the Windows version, but overall, most are the same. You may notice that the menu bar dropdowns in the following screenshots display some existing keyboard shortcuts that are already assigned here for many functions. Most are assigned by Affinity Designer while some are shortcuts that I have assigned for my personal workflow.

We will cover assigning keyboard shortcuts in Chapter 3 , How to Customize Your Affinity Designer Workspace , after which you will know how to create your own shortcuts that make sense to your working style. The drop-down sections of this menu are as follows:. With the main menu bar overview covered, let’s focus a little more closely on some of Affinity Designer’s Tools panels and toolbars.

In the default interface layout, the Tools panel is located as a column of vertical icons on the extreme left side of the window. Depending on which Persona is active, the tools displayed will change in appearance, as shown here:.

Figure 1. If you look carefully, you’ll notice in the case of the Designer Persona tool panel in the default setup, there are some nested tools indicated with flyouts below other related tools. The Pixel and Export Personas currently do not have any default flyout tools, although this may change in future updates.

The default order of the tools is set up for them to logically work with one another. The types of tools or tool groupings are as follows: Design tools, Shape tools, Text tools, Selection tools, Retouch tools, and Export tools.

As with many interface elements in Affinity Designer, you can customize how or which of the tools for each persona are shown, and you can even change the order if you wish. In the default interface layout, the toolbars are located directly below the menu bar as two horizontal bars containing commonly used options, settings, and functions depending on what Persona you are currently in, what is currently selected, and what tool is currently active.

They consist of the Persona toolbar, the Toolbar, and the Context Toolbar. As touched on earlier, the Persona toolbar allows you to select between the Designer, Pixel, and Export Persona workspaces.

The ability to work in a dedicated vector, pixel, and export environment in one application is a definite advantage and is one of the strengths of this application. The seamless integration between Personas allows you to concentrate on creating instead of jumping in and out of different applications to achieve results. In some cases, the pairing of pixels and vectors together permits you to do things that are simply not available in other similar applications, such as pixel painting inside a vector shape with ease.

The type of project you are creating will determine which Persona you will want to work in. You will most likely be spending most of your time in the Designer Persona or the Vector Persona, which take advantage of Affinity Designer’s excellent vector toolset. If you prefer more of a painting working style, you may spend more of your time in the Pixel Persona. Generally, a combination of all three will come into play over the course of your work in Affinity Designer.

Along with the Tools panel, the Toolbar just to the right of the Persona toolbar is full of settings and functions you will use consistently over the course of a project. Most or all of these options can also be assigned hotkeys. Here you will find the options outlined in the following sections. The ability to synchronize object defaults allows you to change your default stroke or fill. The first icon when selected will adopt the current selected object’s stroke and fill. The second icon will revert to the application default.

You are able to toggle your viewing mode from Pixel to Retina or Outline views. Pixel and Retina will display your vector artwork as pixels. This is handy when you want to see what your work will look like as pixels without having to export it. The Outline view will display all vector artwork as paths only, which is very handy when you need to see just the raw vector paths for precise adjustments.

Each object or element in Affinity Designer is placed on its own separate layer layers are covered in detail in Chapter 9 , Workflow : Layers and Objects. When an object is created or placed into your document, it can be positioned in front or behind an existing object, commonly referred to as the stacking order.

The Order toolbar options allow you to reposition an element’s stacking order or where it’s positioned in relation to other objects’ positions. To reposition an object, the object must be selected and more than one object can be repositioned at a time. These four options allow you to quickly transform a selected object or objects by flipping it horizontally, flipping it vertically, rotating it counter-clockwise, or rotating it clockwise.

This is where your saved document title is located and the current zoomed view percentage. An asterisk will appear to the right if the file has not been saved. The next set of icons along the right of the Toolbar are Distribute , Align , and Space.

They allow you to reposition multiple objects quickly and in predictable ways that might be difficult to achieve one at a time or only by sight. I encourage you to create and experiment with multiple shapes to really grasp these concepts.

The options in this group of icons allow three or more selected objects to be distributed as follows — left to right:.

The options in this group of icons allow two or more selected objects to be aligned as follows — left to right:. In order to provide some clarity between the distribute and align functions, here are two instances of each that may help to visually explain how they are slightly different from one another. Compare the original element positions on the left to those on the right.

These two options in the default Toolbar setup work similar to Distribute Horizontal Centers and Distribute Vertical Centers by adjusting the Vertical or Horizontal spacing between two or more selected objects. It’s on the same list :. I can freely rotate the view with my Mac trackpad, but the rotation is limited to 15 degree increments with a mouse. Oh no. Now I have trackpad envy. With the crop tool, you can rotate the document, but not the canvas.

Click just outside a corner and rotate. Was it just my imagination, but I thought that in the past I had rotated a document by clicking on the move tool and entering a rotate angle in the Transform panel.

It certainly didn’t work an hour ago. Or was that just in Designer? Windows 10, Affinity Photo 1. Just doubling the size will suffice. Or was tht just in Designer?

That is probably what you are thinking about. Affinity Photo 1. Yeah the canvas rotation bug doesn’t ever seem to get fixed. It’s highly annoying that on a normal working setup you’re crippled with step-rotation.

Why it doesn’t have a key combo that you can hold while dragging to rotate is beyond me. What makes you think that it’s a bug, rather than simply missing function that you’d like it to have? Desktop: Windows 11 Home, version 21H2 That still doesn’t mean it’s a bug. Serif did not intend to implement canvas rotation as you’d like it, therefore it’s a missing function that you’d like to see implemented; not a bug. As far as “being easily adapted,” only the developers can say how easy that actually would be.

But regardless, it is a missing feature, not a bug. Knowing the difference is important because if you want to see this feature added to the Windows versions, you need to post that to the feature request forums, not the bugs forums.

I’m sad that the Windows version of Affinity only has the 15 degree rotations from a menu, but it’s at least better than nothing. Is this already on a roadmap somewhere and if not, what do we have to do in order for the Affinity team to evaluate this? Want to see a magic trick for making isometric designs in Designer? You could post there, or perhaps find another request that someone else made that you can concur with.

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Affinity designer reset canvas rotation free download.Affinity Designer Help

 

Let us know in the comments below. If you instead wanted to rotate individual layers or rotate an image in Photoshop, you should use the transform tool to rotate.

Instead, use the free transform tool for rotating the background layer. As you have seen the rotate view tool rotates the canvas or the image window, and not the image itself. This is useful, to better use the, i. Do you ever rotate the canvas in Photoshop? Let us know in the comments how you use this feature!

I make sure that you get the best articles about photography. Personally, I prefer to shoot landscape, nature and macro photography. When you rotate the canvas the compass rose becomes visible while pressing the mouse button. Peter Dam. Latest Posts. We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. Close Privacy Overview This website uses cookies to improve your experience while you navigate through the website.

A clipped layer can be edited independently from its parent, e. Any layer can act as a parent or child in clipping relationships. Therefore both pixel and vector layer content can be either clipped or clipping. Layers can be clipped on creation by activating Insert inside the selection targeting. For more information, see the Targeting topic. The clipped layer is nested within the clipping layer in the Layers panel, becoming a child of the clipping layer. To select clipped layers: 1. On the Layers panel, expand the clipping layer’s contents if needed by clicking the layer’s arrow.

Click to select the clipped layer. The clipped layer can now be edited as needed. Paste Inside This feature allows you to paste on or more layers inside another layer. The layer to be pasted could be copied from another document.

The model image layer was pasted inside a transparent pixel layer of brush strokes; a light blue gradient fill layer was used under other layers. To copy and paste inside: 1. Select one or more layers from the current or other loaded document. From the Edit menu, select Cut. Select the layer which will act as the parent layer. From the Edit menu, select Paste Inside. The pasted layer is shown within the path of the parent layer, producing layer clipping. From the Edit menu, select Copy.

Distributing Layer content across multiple layers can be distributed or spaced evenly on the page using the Arrange commands. Distribution and spacing Distribution involves setting an even distance between layer content across multiple layers. Before and after auto-distribution. Spacing ensures there is an equal distance between the edges of layer content. Before and after spacing.

Settings Settings can be adjusted from the Arrange pop-up panel on the Toolbar. If this option is off, a specified distance between selected layers’ contents can be set adjacent to the Auto Distribute option. To distribute layers’ contents: 1. Select your layers. On the Toolbar, click Arrange, set your options from the pop-up panel, and then click Done. Grouping Layers can be grouped together for easier management and for restricting adjustments or masks to particular layers within your project.

Layer groups can be nested together within a ‘parent’ layer group. Grouped layers remain together so they can be easily selected, moved and copied. Furthermore, once a layer group is established, adjustments and masks can be applied to the group and will affect all the layers within the group but not those outside the group.

Groups, and nested groups, can be broken apart at any time into their separate layers. Layer groups display as a nested Group layer on the Layers panel. To create a group: 1. Select multiple layers. In the Layers panel, -click each layer. Do one of the following: o On the Layers panel, click Group Layers. To ungroup layer content: 1. On the Layers panel, select the layer group. From the Arrange menu, select Ungroup. To select a specific layer within a layer group: 1.

On the Layers panel, expand the layer group to show its contents by clicking the layer’s arrow. Click to select a layer within the group.

Merging and flattening Merging layers combines multiple layers together. Pixel, vector, mask, adjustment or image layers can be merged into a new merged layer or into the first available pixel layer beneath it in the layer stack. The entire document can also be flattened to produce a single-layer document.

Once layers have been merged, they become a single layer and their previous contents are no longer separately editable. There are several ways of merging layers.

To merge all visible layers: In the Layers panel: 1. A new layer is added one step above the selected layer. This layer is a merged copy of all visible layers. To merge selected layers: 1. On the Layers panel, select multiple layers using -click or -click. From the Layer menu, select Merge Selected. The selected layers merge down into the lowest layer in the selection. The selected layer merges with the first available pixel layer beneath it. Any non-pixel layer existing between the layers to be merged will not be included in the merge.

To create a copy of all visible layers merged: 1. From the Edit menu, select Copy Merged. A flattened version of the visible layers is added to the Clipboard. The document will then contain a single flattened layer. Ordering Once created, any layer in the layer stack can be reordered. This stacking order will dictate which layer content will show in front of other layer content; the higher the layer in the layer stack the more that layer will be brought to the front of the image.

To change a layer’s position: Do one of the following: 1. When you see a blue line between two layers, drop the layer to place. With layer s selected, choose one of the following from the toolbar: o Move to Back—repositions the selected layer s at the bottom of the layer stack.

The above options are also available from the Arrange menu. Targeting Targeting controls where new layers are placed in the layer stack on creation. This default targeting behavior can be modified so a new layer can be created below the current layer, at the top of the layer stack regardless of selection , or nested inside a layer.

Alternatively, you can access the default behavior, as well as the other targeting options, from the Arrange menu. Rotating and shearing Layer content can be rotated and sheared directly on the page using the Move Tool. Before and after rotate and shear applied. Positioning the cursor around the bounding box of your layer content will allow you to rotate or shear the layer content. Feedback is provided by the following cursors. Rotation is also possible about a custom rotation center placed on your page.

To rotate layer content: 1. With the Move Tool, select layer content on a chosen layer. You can rotate layer content with more precision using the Transform panel. To move the rotation center: 1. The center shows centrally within the selected layer content. Drag the rotation center to a new position in the selected layer content or anywhere on the page.

Once you’ve moved the center, you can rotate your layer content about it as described above. For vector shapes, lines and text, you can snap the rotation center to the bounding box, center, key points, or the geometry of other objects or even the same object.

To shear layer content: 1. Position the cursor close to a side handle and drag on the page. You can shear objects with more precision using the Transform panel. Locking Locking is useful when you need to prevent a layer from being moved or transformed unintentionally. To lock a layer: 1. On the Layers panel, select the layer to be locked. Opened images, or images developed from Develop Persona, appear as a locked background layer by default.

Rasterizing Shape, Line, and Text layers can be rasterized to create raster layers. This “flattening” operation can be performed manually or automatically when applying filters or retouch brushes. Rasterization is only a requirement if the appearance of complex vector gradients or effects need to be honored, particularly for print artwork. When applying filters or retouch brushes to the above layers, automatic rasterization occurs. This means the layers can’t be edited as vectors afterwards.

Ensure shapes, lines and text are completely edited to your satisfaction beforehand. Creating pixel selections A pixel selection is simply a drawn area on your image bounded by a flashing dashed line, often called ‘marching ants’. Selection boundaries are defined depending on whether individual pixels are included or excluded. Once your selection has been created, you can invert it so all included pixels are excluded and vice versa.

If there is no selection in place, a new selection will be created. If you ‘invert’ when no selection is in place, a marquee is placed around your entire page, therefore selecting every pixel in your image. Painting pixel selections Using the Selection Brush Tool you can define a selection by painting on your page. Default Selection Brush ‘expansion’ behavior By default the Selection Brush Tool is set to expand the selection to include similar color value pixels to those selected, even if these are not directly painted.

In other words, the selection will grow up to high contrast edges within the image. Before and after selection painted. This makes selecting an area of similar color and tone effortless. The selection will only expand to pixels with similar color values if they are adjacent to the stroke painted. To select a separated area, you must start another stroke within that area. Alternative ‘non-expansion’ behavior As an alternative to the expansion method detailed above, the Selection Brush Tool also has a non- expansion method of selection.

This method will only select pixels which are under the brush when the stroke is painted. Difference in selection method between non-expansion before and expansion after. To create a pixel selection: With the Selection Brush Tool selected: 1.

See Selection Brush Tool for details. Drag on your page. See the note below for details. Dragging left or right will decrease or increase the brush size, respectively. Alternatively, use the [ or ] s, respectively. Flooding pixel selections Using the Flood Select Tool you can define a selection of similar color value pixels with a single click.

Flooding and tolerance When using the Flood Select Tool, Affinity Photo will analyze the target clicked pixel and use its color value to create a selection which includes pixels with similar color values. Before and after pixel clicked. The number of pixels selected is determined by the tool’s tolerance setting. The higher the tolerance the more variance allowed between the target pixel and selected pixels. Therefore a higher tolerance will likely lead to more pixels being included in the selection.

Contiguous behavior By default, flood selecting is contiguous. This means pixels with similar color values must be adjacent to one another to be selected. Therefore, pixels must be directly connected to the target pixel or other selected pixels to be selected. If there is a high contrast edge between areas of similar color, the pixels on the opposite side of the edge will not be selected using a single click. As an alternative, the contiguous behavior can be switched off.

This will mean pixels of similar color to the target pixel will be selected regardless of their position within the image. Difference in selection method with contiguous on before and off after. To create a pixel selection: With the Flood Select Tool selected: 1. Optional On the context toolbar, set the Tolerance. Click on your page. To create a pixel selection using multiple target pixels: With the Flood Select Tool selected: 1. On the context toolbar, set the Mode to Add.

Repeat step 2 as needed. Alternatively, you can subtract or intersect a ‘flood selection’ from the current selection using the other Mode options.

For more information on the available selection modes, see Creating pixel selections. Drawing pixel selections Using the Free Hand Selection tool you can draw on your page to define a pixel selection. As your cursor moves across the page, the selection will extend to follow its path and continually be connected to the initial starting point.

Free hand selection in the process of being drawn. If you decide to create a selection based on any range, your image is analyzed and all pixels which fall into the chosen range are included in the selection.

Pixels which are not in the chosen range are excluded. Color, tonal and transparency range selections are available from the Select menu. Try creating range pixel selections before applying an adjustment layer. This allows you to target the adjustment directly to any one of the Color or Tonal ranges.

Pixel selections from layers You can create pixel selections based on layers or layer groups or layer luminance. This partial selection is based on the percentage of their opacity i. Transparent areas will not be included in the selection.

From the Select menu, select Selection From Layer. Pixel selections from channels You can create pixel selections based on a single channel or combination of channels. This feature is available from the Channels panel. Selection created from the image’s blue channel. Pixels are selected based on the contribution that the chosen channel makes to its color value. If a channel only contributes partially to a pixel, that partial amount is selected i.

To combine channels in a single pixel selection: In the Channels panel: 1. Alternatively, you can subtract or intersect a channel from a selection using the other options on the context -click menu. To create a pixel selection from a selected layer’s channel: 1. In the Layers panel, select a layer. In the Channels panel: o -click a channel named after the selected layer e.

Pixel selections from shapes You can convert a curve or shape path drawn using the Pen Tool into a selection. When created from a curve, the resulting selection will be closed using a straight line between the end nodes.

The original line or shape will be discarded when the selection is created. Ensure you keep a copy of your original line or shape if you wish to use it later in your project. To create a pixel selection from a drawn line or shape path : 1. Do one of the following: o Using the Pen Tool draw a curve or closed shape on your page. From the context toolbar, click Selection. You can convert geometric shapes created using the Shape tools into selections by converting them to curves and then using the procedure above or creating a selection from the shape’s layer.

Sampled color pixel selections You can create a pixel selection by sampling colors from pixel layers. For lower tolerance settings, pixels must be very close in value to the clicked pixel. For higher tolerance settings, pixel color can vary widely from the clicked pixel. Drag the slider to set the value. To create a pixel selection from a sampled color: 1. Select the pixel layer containing the color to be sampled. From the Select menu, choose Select Sampled Color.

Click on the color to be sampled. Click Apply. Marquee pixel selections The marquee selection tools allow you to create selections based on standard geometric shapes, such as ellipses and rectangles. For pixel-accurate selection, Force Pixel Alignment on the top Toolbar will snap pixel selection areas to full pixels when created, moved or modified.

If this option is off, selections can occupy partial pixels. Furthermore, if snapping is active, selection areas can snap to page edges and guides when being created using the Marquee Selection Tools or moved. Drag with left and right button down Marquee and Free hand Selection tools to automatically add areas to the current selection. Modifying pixel selections Once you have a pixel selection in place, it can be modified in several ways.

Transforming and editing selection In addition to the options mentioned above, you can move or transform a selection using the Move Tool or edit it using pixel-editing tools in Quick Mask mode.

When checked, the selection shape is made more rounded with increasing Radius values. For some selection tools, feathering can be applied to a selection from the context toolbar. In addition to the modifications discussed here, you can also refine the edges of your selection. This option is available from the context toolbar and the Select menu. Moving and transforming pixel selections Once a selection has been made, it can be moved and transformed in a variety of ways. Moving and transforming a selection and its contents If you have a selection in place, you can move and transform it, and the pixels it encompasses, using the Move Tool.

Furthermore, with the Move Tool active, the Transform panel can also be used for precision working. Moving and transforming a selection only If you’re looking to reposition a selection, but leave the pixel content untouched, you can use the Marquee tools.

However, if you wish to transform your selection while leaving the pixel content untouched, you need to enter Quick Mask mode. Once in Quick Mask mode, you can resize, reposition, rotate or shear a selection using the Move Tool or Transform panel. To move and transform a selection and the pixels it encompasses: 1. With a selection in place, select the Move Tool. Resize, reposition, rotate or shear the selection on the page using the displayed handles or, for precision, use the settings on the Transform panel.

The pixels within the selection will be moved and transformed to match the new selection. Every time the selection is moved or transformed, new pixels may be included within the new selection area. These new pixels will then be moved and transformed if the above procedure is followed again. To move a pixel selection leaving pixel unaffected : 1. With a selection in place, select a marquee selection tool or the Free Hand Selection tool. Drag inside the selection To transform a selection leaving pixel unaffected : 1.

Do one of the following: o Press Q. Select the Move Tool. Repeat step 1 to exit Quick Mask mode and display the selection as a marquee. By default, the Quick Mask is presented in the workspace as a translucent, red overlay. The red areas are not included in the selection. Edit selection as layer using Quick Mask mode Using Quick Mask mode, you can modify or create a selection using pixel-editing tools.

When entering this mode, your selection is temporarily presented as a pixel mask. Pixels can be added or erased using the standard Painting and Erase tools. By default, the Quick Mask is presented in the workspace as a translucent, monochrome overlay.

The monochrome areas are not included in the selection. This default view can be changed depending on your preferences.

You can create a new selection from scratch using the Painting tools by entering Quick Mask mode without a selection in place. To edit a selection using Quick Mask mode: 1. Click or drag on the page using any pixel-editing tool. Optional To create a layer mask using the current selection, from the Layer menu, select New Mask Layer. Refining pixel selection edges Once a selection has been created, you can refine its edges to ensure your selection is as accurate as needed.

For very fine selection, e. If this option is off, selection doesn’t follow image edges which is useful for more accurately refining straight selection edges. Negative values will shrink the selection while positive values enlarge it.

Great for selecting hair at the edges of photos, etc. To refine pixel selection edges: 1. With a selection in place, from the Select menu, select Refine Edges. If you wish to adjust the selection edges by painting, drag on the preview. Dragging up or down will decrease or increase the brush hardness, respectively.

Creating outline selections The Outline feature allows you to create a new selection based on the outer edges of a previously created selection. Before and after outline selection created. To create an outline selection: 1. With a selection in place, from the Select menu, select Outline. Saving and loading selections You can save pixel selections for later use in the current project or future projects. It’s useful to be able to reinstate more complex selections at any time and stage of your project.

Saving selections as alpha channels Any number of selections can be stored as spare alpha channels in the Channels panel for future use.

From there you can reinstate any selection on demand. Channels panels showing stored selections each named as Spare Channel for future use. Saving selections to file Instead of using the Channels panel, selections can be saved to a standalone file.

Saved selections can then be loaded from the file into the same or another project. The selection is stored at the bottom of the Channels panel as a new ‘Spare Channel’ entry. To save a selection to a file: 1. With a pixel selection in place, from the Select menu, select Save Selection. To load a selection from a file: 1. From the Select menu, select Load Selection from File. Select the. Removing Red Eye Red eye is an unsightly effect caused by a camera’s flash in low light conditions.

However, it can be easily corrected using the Red Eye Removal Tool. The Red Eye Removal Tool detects red coloration in a subject’s pupil and instantly removes it.

When I am happy with them, I apply the final color. Zoom into your wheel shape. Press Z to select the Zoom tool, and drag over the shape while holding Alt key, or double-click on the thumbnail corresponding to it in the Layers panel.

A new circle will be placed on top of the original one. Select it. Repeat three times, reducing a bit more in size each time, to fit your reference. This will happen from your third smart-duplicated shape onwards. So, we have our concentric circles for the wheel, and now we have to change the colors. You can select a color and modify it slightly to adapt to what you think works best. We need to apply fill and stroke colors. Remember to give the stroke the same width as the rest of the car 8 pixels except for the innermost circle, where we will apply a stroke of Now we want to select and group all of them together.

Duplicate this group and, while pressing Shift , select it and drag along the canvas until it overlaps with the back wheel. Name the layer accordingly. We need to trace the front and back fenders. We have to do the same as what we did for the main bodywork. Pick the Pen tool and trace an outline over it. Once it is traced, modify it by using the handles, nodes and Corner tool.

I also modified the black shape behind the car a bit, so that it shows a bit more in the lower part of the body work. Now we want to trace some of the inner lines that define the car. For this, we will duplicate the main yellow shape, remove its fill color and place it onto our illustration in the canvas. Press A on the keyboard, and click on any of the bottom nodes of the segment. You will see now that the selected node has turned into a red-outlined squared node.

Click on it and pull anywhere. As you can see, the segment is now open. Click the Delete or Backspace key Windows or the Delete key Mac , and do the same with all of the bottom nodes, leaving just the leftmost and rightmost ones, and also being very careful that what is left of the top section of the segment is not deformed at all.

I use this method for one main reason: Duplicating an existing line allows for a more consistent look and for more harmonious lines. Select now the newly opened curve, and make it smaller in such a way that it fits into the main yellow shape when you place them on top of one another.

In the Layers panel, drag this curve into the yellow shape layer to create a clipping mask. The reason for creating a clipping mask is simple: We want an object inside another object so that they do not overlap i. Not doing so would result in some bits of the nested object being visible, which is not what we want; we need perfect, clean-cut lines. Note: Clipping masks are not to be mistaken for masks. Masks, on the other hand, display a small vertical blue stripe beside the thumbnail.

Then, I applied a bit more Corner tool to soften whatever I felt needed to be softened. Finally, with the Pen tool, I added some extra nodes and segments to create the rest of the inner lines that define the car. Note: In order to select an object in a mask, a clipping mask or a group when not selecting the object directly in the Layers panel, you have to double-click until you select the object, or hold Ctrl Windows or Cmd Mac and click.

In the side Toolbar, select the Rounded Rectangle tool. Drag on the canvas to create a shape. I recommend that you visually compare the difference between having this option checked and unchecked when you need to resize an object with a stroke.

Once you have placed your rounded rectangle on the canvas, fill it with a blue-ish colour. Next, select it with the Node tool press A. You will now see a little orange circle in the top-left corner. Uncheck it , and pull inwards on the tiny orange circle in the top-left corner. Launch Affinity Designer and go to File New. Choose any page size from the available options I chose letter size but for this, it really doesn’t matter and then click Create.

You should be presented with a centered blank white page. Now if you have already opened the application and have been playing around and moving various panels about, you may want to set up your layout to look like mine, shown in the user interface screenshot in Figure 1. This will reset the Affinity Designer interface to its default layout and it should look pretty much the same as mine.

The preceding screenshot shows the light interface version while the next is the dark interface version. Both are screenshots of the Affinity Designer default interface. Screenshots that don’t need to be printed in color are printed in black and white. Screenshots that are best shown in color will be in color. In some screenshots the UI type will be too small to read, however if the information or concept being discussed requires readability every attempt at enlarging it will be made.

That being said, there are limitations to resolution and the size of some UI elements. In practice in my day-to-day work, I find the light version a bit too bright for working with so I normally work in the dark interface mode. However, we will be using the light interface for all of the screenshots in this book for the main reason that they are easier to read at the sizes they are reproduced here.

We will be discussing many of the user interface areas in more detail in Chapter 3 , How to Customize Your Affinity Designer Workspace , but for now, let’s just get familiar with the overall footprint of Affinity Designer’s default setup.

Let’s begin with a quick tour of the interface. Looking around the screen, we can see in the top left a horizontal bar containing a typical application menu bar with drop-down menu items: Affinity Designer , File , Edit , Text , Layer , Select , View , Window , and Help.

We will cover these in more depth in the An overview of the menu bar section. Just below the top menu bar and still on the left-hand side of the layout, you will see the three Persona icons for the Designer , Pixel , and Export Personas. This is called the Persona toolbar. See The Persona toolbar section for a more in-depth look at the Persona toolbar.

Continuing along the same horizontal bar and just to the right of the three Persona icons is an area known simply as the Toolbar. See the The Toolbar section for a more in-depth look at the Toolbar. Just below the Toolbar is the context toolbar. See the The context toolbar section for a more in-depth look at the context toolbar. Moving over to the left-hand side of the layout, we find the Tools panel. See the Navigation tools — overview section for a more in-depth look at the Tools panel.

The central workspace area containing my white page is known as the Document View. The dark gray area around my page also contained within the document view is called the Pasteboard.

See The document view and artboards — overview section for a more in-depth look at the document view and pasteboard. The last area of the default interface to cover is the wide column along the right side of the layout. The area is known as the Right Studio. Now that we have seen where the main areas of the interface are located in the default layout, let’s begin to take a look at some of these individual areas a little more closely, starting with the top menu bar.

No chapter entitled Getting Familiar with the Affinity Designer’s Interface would be complete without a quick look at the interface’s top menu bar. As this is an overview, a lot of these menu items will be covered or touched on as we go through the book, especially in the three practical exercise chapters Chapters Once again, these menu bar items and the drop-down menu lists that follow are from the macOS desktop version of the software.

There may be some slight differences in the Windows version, but overall, most are the same. You may notice that the menu bar dropdowns in the following screenshots display some existing keyboard shortcuts that are already assigned here for many functions. Most are assigned by Affinity Designer while some are shortcuts that I have assigned for my personal workflow.

We will cover assigning keyboard shortcuts in Chapter 3 , How to Customize Your Affinity Designer Workspace , after which you will know how to create your own shortcuts that make sense to your working style.

The drop-down sections of this menu are as follows:. With the main menu bar overview covered, let’s focus a little more closely on some of Affinity Designer’s Tools panels and toolbars. In the default interface layout, the Tools panel is located as a column of vertical icons on the extreme left side of the window.

Depending on which Persona is active, the tools displayed will change in appearance, as shown here:. Figure 1. If you look carefully, you’ll notice in the case of the Designer Persona tool panel in the default setup, there are some nested tools indicated with flyouts below other related tools. The Pixel and Export Personas currently do not have any default flyout tools, although this may change in future updates.

The default order of the tools is set up for them to logically work with one another. The types of tools or tool groupings are as follows: Design tools, Shape tools, Text tools, Selection tools, Retouch tools, and Export tools. As with many interface elements in Affinity Designer, you can customize how or which of the tools for each persona are shown, and you can even change the order if you wish.

In the default interface layout, the toolbars are located directly below the menu bar as two horizontal bars containing commonly used options, settings, and functions depending on what Persona you are currently in, what is currently selected, and what tool is currently active. They consist of the Persona toolbar, the Toolbar, and the Context Toolbar. As touched on earlier, the Persona toolbar allows you to select between the Designer, Pixel, and Export Persona workspaces.

The ability to work in a dedicated vector, pixel, and export environment in one application is a definite advantage and is one of the strengths of this application.

The seamless integration between Personas allows you to concentrate on creating instead of jumping in and out of different applications to achieve results. In some cases, the pairing of pixels and vectors together permits you to do things that are simply not available in other similar applications, such as pixel painting inside a vector shape with ease. The type of project you are creating will determine which Persona you will want to work in.

You will most likely be spending most of your time in the Designer Persona or the Vector Persona, which take advantage of Affinity Designer’s excellent vector toolset.

If you prefer more of a painting working style, you may spend more of your time in the Pixel Persona. Generally, a combination of all three will come into play over the course of your work in Affinity Designer.

Along with the Tools panel, the Toolbar just to the right of the Persona toolbar is full of settings and functions you will use consistently over the course of a project. Most or all of these options can also be assigned hotkeys. Here you will find the options outlined in the following sections.

The ability to synchronize object defaults allows you to change your default stroke or fill. The first icon when selected will adopt the current selected object’s stroke and fill.

The second icon will revert to the application default. You are able to toggle your viewing mode from Pixel to Retina or Outline views.

Pixel and Retina will display your vector artwork as pixels.

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