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Processing raw images is carried out exclusively within Affinity Photo's Develop Persona. Once you commit to how you want to your image to be developed, the image can then be worked on in other Personas. To open a raw image: 1. Select the raw file you want and click Open. The raw image is loaded into Develop Persona for processing.

Create new documents When you create your new document you specify a range of color settings plus page dimensions depending on the purpose of your document. As well as print press-ready CMYK , you can work to specific Photo print sizes, specific Web screen resolutions, and with the Devices option, design to iPad, iPhone, and Nexus document specifications.

A Custom option indicates if your page is using non-standard page dimensions. An alternative to selecting a Page Preset size above. For example, for professional print quality, set your resolution to dpi. This option is only available when the document units are set to Pixel or Points. Select from the pop-up menu.

Click Retrieve Margin from Printer to use your default printer's settings. When creating a new document, the Document Units define the exact size of your document on screen. Similarly, for physical Document Units e. To change document units once a document has been created, use the settings on the context toolbar when the View Tool or Zoom Tool is selected.

You can also create a new document based on the contents of the clipboard. Full transparency can be applied to the background of the document at any point by selecting Transparent Background from the Document menu. To create a new document: 1. From the File menu, click New.

From the dialog, choose document settings. Click OK. Creating new documents from clipboard contents You can create a new document based on the current contents on the clipboard. This 'paste as new document' feature allows you to start a new project from a copied section layer or selection of another project in Affinity Photo or other supported applications. Embedding documents Embedding documents allows you to place any Affinity Designer, Photo, etc. Before and after documents from Affinity Photo and Affinity Designer embedded into current document.

Once you've added embedded documents onto your page, you can edit each document without leaving your current document. To embed a document: 1. From the File menu, select Place. In the pop-up dialog, navigate to and select a document, and click Open. Do one of the following: o Click to place the document at a default size. Embedded documents are shown in the Layers panel using their original document name and the suffix ' Embedded document '.

If your embedded document is a Designer file which has multiple artboards, you'll be provided with an Artboard option on the document's context toolbar so you can choose which artboard is displayed. Changes are saved within the main document without affecting the original.

The editability of the embedded document may be affected by how the original document was saved in its native application. To replace a document: 1. Select the document. From the context toolbar, select Replace Document. Place images You can add additional photos and raster images to your page as a new layer. Photos and images placed in this way can be replaced using the options on the context toolbar. The image's embedded color profile will always be converted to the document's current working space.

To place an image: 1. In the pop-up dialog, navigate to and select a file, and click Open. Do one of the following: o Click to place the image at its default, displayed size.

The image will be added to the project as a new layer. To replace an image: 1. Select an image. From the context toolbar, select Replace Image. Using stock photos The Stock panel allows you to search various stock imagery websites to find images for your designs and then add them to the page. When you add images from the Stock panel to your document, they are placed as watermarked versions. This allows you to use them in your design so you and your clients can visualize their use before you purchase them.

Before and after purchase of stock image. When the design is complete, the features within Affinity Photo allow you to quickly locate the image online so you can purchase it and then help you replace the placeholder with a purchased version.

To search for stock images: On the Stock panel: 1. Select a stock imagery website from the pop-up menu. In the search box, type in your keyword s and then click the search icon or press the Return key.

Thumbnails of all images matching the search criteria will display in the panel. You can clear search results using the close icon. To purchase and replace a stock image: 1. Select the watermarked placeholder image on the page. Your default web browser will launch displaying your selected image on the chosen stock imagery website.

Purchase the image and save the file to a convenient local location. With the placeholder image still selected, on the context toolbar, click Replace Image. Navigate to, and select, the purchased image and click Open. View There are a variety of viewing options available which give you maximum flexibility when editing your images.

New View There are times when it is useful to view a design at different zoom levels simultaneously. This can be achieved by opening your current project in a New View. The views can then be set to different zoom levels. Changes made to any view are replicated in the other. Full Screen View Regardless of which layout mode you choose to work in, you also have the option of full screen view. In this view, Affinity Photo is effectively maximized to its own desktop, giving you every available pixel to work with.

The Menu bar is not visible in full screen view. However, it remains accessible by moving the pointer to the upper edge of the screen. Using the Separated Workspace mode, you can be working on several documents at a time, each having their own full screen desktop! When in full screen view, you cannot switch between Normal and Separated mode. You must choose which mode you wish to work in before entering full screen view. Zooming Zooming into areas of your document is an essential part of the editing and design process.

Several zooming options are possible. For Trackpad users, see Gestures. To pan an image with the View tool: 1. From the Tools panel on the left, click the View Tool.

Drag the zoomed-in document in relation to its view. Temporarily activate the View Tool by using Hot key panning by pressing. As soon as you release, the tool will switch back to the previously selected tool. You can also pan the Document view using your mouse wheel, scroll bars, or the Navigator panel.

Save When you save your document all project information is preserved, allowing you to edit it at a later date. The project is saved as a single file with the extension. The first time you save your document, you'll be asked to give the project a name and save location.

Following this, future saves will overwrite the previous version. Optionally, you can save a current project as a new project. In this case, the new file will not overwrite the saved version.

A document's history can be saved along with the document, so earlier edits can be returned to even if the document is closed and reopened. To save as a new project: 1. From the File menu, select Save As. Adjust the dialog settings as required. Click Save. If you have only made modifications that are supported by an image file type for example, a JPG or PNG , then using the Save function will simply save over the top of the current file.

If you have made modifications that are not supported, such as adding layers, then you can save the image as a project file click Save As or flatten and merge the changes to the existing file click Save, then Save Flattened in the dialog.

To save history with a document: 1. In the Saving With History dialog, click Yes to accept the conditions discussed in the dialog.

Save your document. Saving your document's history with your document may significantly increase the size of your project file. You can switch off the save history feature by repeating step 1 of the procedure above. Affinity Photo autosaves your document at regular intervals. Developing a raw image using Develop Persona Develop Persona is a dedicated environment used for processing raw images captured using a digital camera. Working in Develop Persona If a supported raw file format is opened in Affinity Photo, it will automatically display in Develop Persona.

You can then process the image using the dedicated adjustments, panels and tools. At any point while working with an image or any selected pixel layer, you can switch to Develop Persona to make use of its unique features.

Split view options There are a variety of split view options available in Develop Persona which give you the opportunity of seeing how your processed image compares to the original raw data.

A sliding divider can be repositioned to view the image 'Before' and 'After' processing. Panning and zooming affects both pages simultaneously so the same area is always displayed in both pages. 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 hardedge 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. Resizing the image canvas Unwanted canvas area can be removed trimmed from the document edge, and conversely, you can expand your canvas to fit layer content which extends over your document edge. 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. Warping an image About mesh warping The Mesh Warp tool provides a flexible mesh grid which can warp your image by repositioning the grid's lines, nodes, and patches; underlying pixels are transformed under the line, node or patch.

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.

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. To change the opacity of a layer: 1.

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 semitransparent 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 nondestructively, 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. And it helps that the production value for each tutorial is also top notch! Affinicasts started as an independent project for publishing in-depth tutorials on numerous of the Affinity products; Photo, Designer, and Publisher. Unfortunately, because of time restraints, the project had to be discontinued.

There are around 70 videos in total, most of which had been submitted throughout So, the information in the videos is up-to-date and fresh for years to come. If you have looked up Affinity Designer learning materials before, you might have heard of the Affinity Revolution YouTube channel — it has over , subscribers! The platform is mostly run by Ezra Anderson who uses his thoughtful and precise style to teach people how to become better vector graphic designers.

The link used above the featured photo will lead you to the Affinity Revolution Courses page. While all of the YouTube videos are free, the courses require minimal financial investment, but the learning materials are well worth it.

Are you an active Affinity Photo user and would like to improve your graphic design understanding? And maybe you are just someone who needs an affordable yet powerful tool for doing modern design tasks? If you answered yes to any of the questions above, then this Udemy course is just the right thing for you!

As a student of this course, you are going to learn the ins and outs of what it takes to become a confident user of Affinity Designer. Learn the techniques for designing advanced shapes using operations, expressions, and reflections. All this put together makes this one of the best tutorials for Affinity Designer newcomers.

You are going to be learning how to create a flat vector illustration, just like the one shown in the photo above. To create something this pixel-perfect, you have to pick up some new skills along the way. Pixelmator, Procreate, these are common names when talking about iPad design apps. But no one has dared to go the distance that Serif has with their iPad release of Affinity Designer. This is not just an app, but a full-blown vector editing experience on a tablet!

You can now work on your professional projects even when far away from your desktop device! This section introduces you to some of the best tutorials so that you can start unleashing your creative spark. If you have used the Desktop software before then getting started is going to be quick and easy.

Just like with the Desktop version, Affinity has provided a sufficient library of learning videos for Affinity iPad too. This collection of video tutorials dives deep into pretty much everything there is to know about the application.

After wrapping up the videos in this resource, you should be well on your way to designing things by yourself. Designers who have used the app have left raving reviews about its simplicity, and how effortless it is to achieve a pitch-perfect design structure. Are you new to digital design but love the idea of it? Affinity Designer for iPad is a true game-changer for all vector designers. And this course is going to show you just how big of a game-changer it truly is. In total, this course provides more than 9 hours of content, with more than 80 lessons available for immediate access.

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Tutorial affinity designer pdf free. Affinity Photo Manual.pdf

 

Diagrams and charts are visual representations of information. They are useful for как сообщается здесь facts, drawing plans, and capturing ideas and enhance communication, learning, and productivity. These visuals show relationships tutorial affinity designer pdf free connections between entities.

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An больше на странице of using graphs is that they can show changes over time or a comparison of numbers much more clearly than a data table can do.

These types of diagrams show the elements in a system. Many schematic diagrams use standard symbol sets. They may be representational and drawn to scale, such as in tutorial affinity designer pdf free floor planwhere they must convey precise measurements and placement of elements.

Some schematics are more abstract, such as a circuit diagramin which the drawing shows the layout of a system, but fre how it will actually appear in the physical circuit. SmartDraw helps tutorial affinity designer pdf free create over 70 different types of diagrams. Thousands of templates and powerful automation let you create diagrams as fast as typing a text document. Try it for yourself. Diagrams Diagrams and charts are visual representations of information.

Chart-based diagrams These visuals show relationships or pddf between entities. Graph-based diagrams These diagrams present statistical data graphically. Schematic diagrams These types of diagrams show the elements in a system.

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Master Affinity Apps with Official Tutorials and Resources

   

You may be wondering what the difference is between these two color models. RGB is a subtractive color model that uses some combination of three different colors of light — red, green, and blue — to form every other color within its spectrum.

This makes the RGB format ideal for use on screens and digital displays because they can produce a wider variety of colors. Printing documents that use RGB color format usually results in the colors appearing muddy and desaturated. CMYK ensures that your design will look the same in print as it does on your screen.

CMYK is an additive color model that uses some combination of four different colors of ink — cyan, magenta, yellow, and black — to produce all of the other colors. One of the biggest downsides of using Inkscape is that it currently can only produce documents in RGB format, making it a nightmare for print design. However, there are some workarounds. Scribus is an open source desktop publishing application similar to Adobe InDesign. I made a video tutorial about it a few years ago….

As demonstrated in the video, the PDF file that you generate will remain an editable vector file that can be opened with Inkscape, Illustrator, CorelDraw, or any other vector graphics software. Go ahead and click OK to finalize. For you Linux users though, you can find the download link and installation instructions on the Wiki page. The final method to export CMYK with Inkscape — and this is my personal favorite — is to simply use Illustrator to make the conversion.

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. When I try uploading my Inkscape made files whether in. SVG format,. PDF, etc. It turns the design low quality. The diagonal lines on my text are jagged instead of straight, for example.

Are the settings in my Adobe Illustrator off? Since my designs contain things such as masking, etc. Thank you so much for any advice you can offer.

Really love your work, btw. I learned everything I needed for graphic design for my business from you. Sounds like you have anti aliasing turned off.

Hi Nick — I just stumbled across the Cyan app for Mac. It does a great job at converting images to different color spaces. Hope this helps someone. Presenting… the experimental Scribus PDF export extension! Make sure you double check the result before sending it to the printer.

Great video! I tried the rbg2cmyk. When I imported the new file to Inkscape and attempted to remove the background Inkscape crashed. Any ideas on how to remove the background on the converted file? I am trying to find a solution for a different CMYK problem.

I tried saturation, still in inkscape the colors are to vibrant… any ideas how I can go about fixing this problem? However colors are still in RGB according to Scribus. Speaking about PDFs, you can also use Ghostscript 9. If somebody is familiar with this Ghostscript fuckery, please let me know that ICC embedding options attributes. My eyes are bloody from reading the docs. In fact I have been studying coding for a while and I hope to one day create plugin that allows your sequences you teach with a click of the button.

It would be great to have these as one simple click or button combo. Maybe one day. Hey Nick, I really like your video tutorials on Inkscape and the way your explain things in each video. Am just curious to know the methods which you followed for your logo files to print for your clients when you worked with Inkscape in the beginning??

How did you manage with the CMYK issue back then??? Hey Nick, I tried your advice on opening in Scribus and it worked…. Is there something I can do to fix this? OR should I just eliminate the drop shadow?

I would just eliminate it. The best approach is to simplify the design as much as possible. Hi there Nick, thanks for this blog.

I watched your great video above, and it looked promising. Unfortunately, in my case for both of the two designs that I just had printed from RGB Fedex office , after Scribus opened them it displayed nothing but gibberish. Kind of surprised, I had hoped with a version number like 1.

Hi, do rgb mode in illustrator works differently than in inkscape? I am working on a document in illustrator, the exported svg looks completely different in inkscape. Hi Pierre, you have a really good point. You could technically only use colors that are within the CMYK range, but the problem with that is that Inkscape is still going to save the exported document with an RGB color profile, meaning the print shop will still reject it and the colors would still be off once printed.

Hey, Nick. Great post as always! Thank you! No subscription! I loved! Hey Thiago, thanks for the input. Affinity looks really promising. I plan on buying it and trying it out myself eventually. Your email address will not be published. Save my name and email in this browser for the next time I comment. Attempting to create animated GIFs in previous versions of Inkscape proved difficult due to a lack of proper tools.

Thanks to some of the advancements in version 1. Arguably the most powerful tool Adobe Illustrator has to offer is its Envelope Distort feature, which allows you warp and distort vector objects in any imaginable way. In this tutorial we'll be going Skip to content.

I really appreciate your content, Nick. Denis Neves from Brazil. Thanks Ian! Great to see your work flow. Keep up the good work fam. That would be awesome Ben!

Thank you, Nick, great job. I feel Inkscape should find a way to incorporate this in their next windows update. It would really be helpful. Thanks for your feedback, I appreciate your support! Hi Nick, The Inkscape course does it updated to the latest Inscape version?

Leave a Reply Cancel reply Your email address will not be published. Read More. Become A Master of Adobe Illustrator!