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In the Layers panel, drag the Curve layer to the trash can. Smart mode allows you to put down points, and Designer will create a curve based on the points that you make. Just make points on the document to make a curve. Once you have closed a shape, you can begin making a new one. Pen mode is the final Mode in the Context Toolbar. This is the most difficult mode, but it\’s also the most powerful. First, press Escape on your keyboard so you can start a new curve. Select Pen mode. Press once to create your first point.

To make your second point, click and drag. The more you drag, the more curved your line will be. You can use multiple modes while drawing the same shape. Delete all the layers in the Layers panel to clean up the document.

Press on Smart mode. Click to make a few points. Click to make a few more points, then finish the shape by pressing on the point you started with.

By combining multiple modes, you have great flexibility when working with the Pen Tool. Now that we have a closed shape, give the shape a Fill by choosing a color in the Color panel. Our curve now works as a shape that can be filled with color because it is closed.

If we select the Node Tool, we can adjust the nodes on our shape. Node Tool chapter. Knowing how to use the Node Tool will be crucial in learning how the Pen Tool works. We will learn about Bezier curves in simple terms. Click once to make your first point, then click and drag to the right with each point you make in this line. Don\’t worry too much about why the line looks the way it does. Make sure that you are in Pen mode in the Context Toolbar.

Set the Stroke to about 20 pt. Click on a node, then zoom in. The handles that affect the curve work like magnets. The more the handle is pulled out, the more it pulls the curve like a magnet. We can see the Bezier curve handles that are coming off of it. The way that the line curves is determined by the handles. We can change the handles by clicking and dragging on the control points, which are the points on the ends of the handles. When a control point is pushed closer to the node, the curve becomes less intense.

You can also move the control point in various directions to move the curve wherever you want. As the control point is moved up, our curve moves up, too. The Bezier handles are working like magnets that pull our curve. Click and drag the Curve layer in the Layers panel to the trash can.

Click once to lay down the first point. Click and drag ever so slightly to the right for your second point, then press once to lay down your third point. The handle was barely pulled out, making the curve change direction very quickly to get to the third node. Because the handle is so short, it is barely pulling the curve at all.

And remember, you can also move the handles up or down to change the direction of the curve. You now know the basics of Bezier curves, however, don\’t expect yourself to be a master of them yet.

The Pen and Node Tools take quite a bit of practice to get right. However, the more you use these tools, the easier they will become. Press Escape on your keyboard to start a new curve.

Click once to lay down a point. Click and drag quite a bit to the right this time to make your second point, then press once to lay down your third point. I recommend that after you finish this chapter, you play around with the tools a bit more to see how they work. This time, we can see that the Bezier curve handle is very long. Because it\’s so long, it\’s pulling the curve out quite a bit before it changes direction to get to the last node.

Press once to make your first point. Hold down Shift, and your next point will be restricted to being laid in 45 degree increments in relation to your first point. Right now, the handles can be dragged in any direction. Hold down Shift, and the handles will be restricted to moving in 45 degree increments. By default, clicking and dragging means that you can only move the handles. If you hold down the Space bar, you can move the node while clicking and dragging.

Click and drag to lay down another point, then hold down Alt or Option to adjust only one of the Bezier curve handles, while leaving the other one alone. This is perfect for making shapes with sharp corners, because once you hold down Alt or Option, the node becomes a Sharp node.

We know it\’s a Sharp node because it is a square instead of a circle. Press the Smooth node icon in the Context Toolbar. Press Command or Control 0 zero to see the whole document again. Press P for the Pen Tool. One of the greatest shortcuts for the Pen Tool is that you can hold down Command or Control to temporarily switch into the Node Tool.

By pressing Command or Control, you can see that the cursor has changed into a Node Tool cursor, but the Pen Tool is still selected in the Tools panel. The last shortcuts are all done while holding down Command or Control, which means they involve using the Node Tool. With this shortcut, you can quickly lay down points with the Pen Tool, then quickly edit them by holding down Command or Control to use the Node Tool. With the temporary Node Tool out, you can click and drag to move the nodes around by holding down Command or Control, but if you also hold down Shift, you will only be able to move the node in 45 degree increments from its starting place.

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

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

Press Command or Control R to bring up the Ruler. With the Move Tool selected, click and drag from the side ruler to place a guide in the center of the document. Click and drag to create more nodes for your object, with your last point being on the guide line again.

Place your starting point in the guide line. Press Command or Control J to duplicate our curve in the Layers panel. Now that we have a duplicate layer, flip it vertically by pressing the icon in the Toolbar.

With the Move Tool, hold down Shift and drag it to the left. Holding down Shift will keep our duplicate curve in line with the first curve. Unfortunately, it is still two layers.

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

As you can see in the Layers panel, we now have one curve. With them selected, press the Join Curves option in the Context Toolbar. The nodes at the bottom of our shape are not connected. Return the node to where it was by pressing Command or Control Z.

Click and drag a selection marquee to highlight both nodes. Move one of the nodes to see that even though we have one curve, it still isn\’t a completely closed curve. We now have a closed curve. You can see this by clicking and dragging on the top node. Press the Close Curve option in the Context Toolbar.

We don\’t need two nodes here though, so with the extra node selected, press Delete on your keyboard. Give the closed curve a Fill using the Color panel. We can still use the Node Tool to adjust any of these point if we want. For example, we can make the top node into a Smooth node instead of a Sharp node. Just select the node, then press the Smooth node button in the Context Toolbar. We have now successful mirrored our curve, and have combined both curves into one symmetrical shape.

Select the picture of the bird, then press Open. At the top of the screen, go to File, then Open. This picture of a bird sketch was taken on a phone. Because it\’s a JPEG, you can see that when we zoom in, it quickly starts to pixelate. Because of this, we want to use the Pen Tool to make a vector image of the bird so that we can make it as big as we want. Before we begin tracing, we need to brighten the photo so we can focus more on the lines.

Press on the Adjustment icon. Increase the Brightness and Contrast sliders, then exit from the Dialog Box. This adjustment has helped us to clearly see the lines. In the Layers panel, close the child layer by pressing the triangle to the left of the Background layer. Zoom into the beak to start tracing. The best place to start tracing is somewhere with a sharp corner, so the beak is a good place to start. This tracing will not be perfect the first time, and we will go back to make adjustments once we have a closed shape.

For now, just make a rough trace, and we can improve it later. As we go around the bird, click and drag to make curved lines. A good way to know where to make a node is to see where the curve is changing. If a curve is more steep, and then evens out, place your node where you see that change happening. Continue to click and drag all the way around the bird, excluding the feet, eye, and wing for now. Now that we have a closed object, we can make adjustments with the Node Tool.

To fix the tail of the bird, hold down Shift to adjust the handles, because the curve handles are coming out too far. While holding down Shift, bring in the right side of the curve handle. This way, the curve is only being changed on one side. Then move this node up slightly. Return to the other node, and adjust the handles to smooth out the curve. Select the tip of the tail, then press the Sharp node icon in the Context Toolbar.

Now that we\’re done with the body of the bird, it\’s time to work on the other parts of it. Now that the outline of the bird is looking good, let\’s give the bird a Fill in the Color panel.

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

Remember that you can bring in handles using Shift, or change nodes to Sharp nodes as needed. Press Escape to start a new curve. Continue this around the foot. Make sure that you close your curve at the top of the foot. Because the body will go on top of the feet, don\’t worry about where you start your curve. When you get to the curve of a toe, end it right before the curve, then start a new node directly across from where you stopped, and click and drag quite a bit to get the toe rounded.

Give each foot color in the Color panel. Now that we\’re done tracing the bird, select the Background image, then drag it to the trash can. Select the body layer, then increase the Stroke width in the Context Toolbar.

To give the bird a background, select the Rectangle Tool. Click and drag a rectangle across the document. To get rid of the Stroke, select the Stroke circle in the Color panel, then press the no Fill icon that is beneath our color circles.

Change the colors of the color stops as desired. Change the Type to Radial in the Context Toolbar. The steps we took in this video can be applied to your own drawings.

Just make a sketch, take a picture of it, place it in Affinity Designer, then trace it with the Pen Tool. Don\’t worry about getting it perfect. You can always refine your curve to make your drawing even better.

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

If you want to move or resize the shapes, you can use the Move Tool, or with the shape tool still selected, you can hover over the edges of the shape or use the handles to make adjustments. All of the shapes inside of Affinity Designer, other than the Rectangle and Ellipse Tools, have orange handles that come with the shape. With this shape, the orange handle simply allows us to change the angle of the triangle.

If the Move Tool is selected, the orange handles will not be available. Select the Triangle Tool again. Using the orange handles is a great way to dynamically change the shape. While pressing down Shift, click and drag out a star. Delete the triangle. Press and hold on the Triangle Tool, then select the Star Tool.

You can also use the Context Toolbar to make more precise adjustments. Delete the star. Press and hold on the Star Tool, then select the Pie Tool. Click and drag on the orange handles to see how each handle affects the pie. One more option that we have is converting your shape to curves. If you select the Node Tool, you\’ll notice that you can\’t affect the shape, other than adjusting the orange handles.

Right now, the option to convert to curves is hidden in the Context Toolbar. Press on the arrows at the far right, then press Convert to Curves. The prebuilt shapes that come with Designer are a great resource because they allow you to use perfect shapes, without needing to draw them yourself with the Pen Tool. We can use Boolean operations after selecting two or more objects.

Select Red Circle 1 and Blue Rectangle 1 in the Layers panel by selecting one, then pressing Shift and selecting the other. Now that we have two shapes selected, we could select any of the operations. Select the first operation, which is used to join the shapes. This operation combines the two shapes into one. Notice that the shape is blue. Press the first operation again. You can see that this time, the combined shape is red.

Depending on which shape is on top, the operation will be different. This time, use the second operation, which is the subtract operator. As the icon shows, it will delete the top shape from the bottom shape.

The blue square has had the red circle removed from it. In the Layers panel, switch the layers so the blue rectangle is on top. Press the subtract operator. This time the red circle has had the blue rectangle removed from it. This is the intersect operation, and will take both of the shapes and make them into one inside the area where they overlap with each other.

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

This operation is great if you want to keep all parts of the shape, but divide them into separate layers. After seeing the basics of the Boolean operations, let\’s look at a more advanced trick that you can use. First, we need to reset our document. Go to the History panel, then drag the slider all the way to the beginning.

Now the document is reset. Hold down Alt or Option, then select the first operation. Like before, the shapes have been combined like they are one object, but this time they are a group, called a Compound group. Open the group by pressing the white triangle to the left of the group. This is helpful because we can still select the circle and rectangle, and move them wherever we want, and they will still be combined.

Making a Compound group gives us much more flexibility after we have applied the Boolean operation. In addition to moving around the layers, we can also change the Boolean operation.

Press the Boolean icon next to the circle layer. Change the operation to Xor, which means combine. To permanently combine the shapes, select the Compound group in the Layers panel, then press Convert to Curves in the Context Toolbar. Using the Node Tool, you can adjust the shapes.

Now that we know how Boolean operations work, let\’s use them to make a simple house. First, clear the document by selecting the first layer, then scroll to the bottom of the layer stack, hold down Shift, and select the last layer. Then click and drag all the layers to the trash can icon. Select the Rectangle Tool, and click and drag out a rectangle. Click and drag out a triangle. Use the handles to adjust it to fit on top of the rectangle.

Select the Ellipse Tool, then click and drag to make an oval, and place it near the bottom of the rectangle, so that it is in a good place to be a door. This was just a brief look at using the Boolean operators in Affinity Designer to combine simple shapes to create new, more complex shapes.

Take a look around you at graphic designs that you see in everyday life, and you will see that many designs are just simply shapes that have been added and subtracted from each other.

As we learned before, we can click and drag to adjust any of the orange handles. Select the Corner Tool. Although we no longer have the orange handles to work with, we have the Corner Tool, which is available to shapes that have been converted to curves.

We can press on any node on our shape, and click and drag to round that corner. In the Context Toolbar, we can see that the node has been rounded If we want to make a corner less round, we could select it, then type in a smaller number for the Radius, or click and drag on the corner to make it less round. Zoom in to see this better. Change the Corner type in the Context Toolbar. No matter which corner you have selected, you can still use the Corner Tool to make it more or less rounded.

With the Corner Tool, we aren\’t limited to working with just one node at a time on our shape. We can select multiple nodes by holding down Shift while selecting nodes. With multiple nodes selected, we can type in a new Radius in the Context Toolbar. Select an inner node, then click and drag outward. The corner is now rounded out instead of rounding in. The last option to know in the Context Toolbar is Bake Corners. When you Bake Corners, you lose the ability to use the Corner Tool like normal, but you gain the ability to use Bezier curves.

Press Bake Corners. The orange handles are now gone. You can also work with newly created corners with the Corner Tool, but it only work with Sharp nodes, which are represented by a square.

You cannot use the Corner Tool on Smooth nodes, which are represented by a circle. You will find that the Corner Tool can be quite useful in your design workflow. After making any shape, you can try using the Corner Tool to see if your shape might look better by rounding the edges. Select the Vector Crop Tool. We can always use the Vector Crop Tool to drag out the crop again and to modify our vector mask.

In the Layers panel, you can see that we now have a Group. We have the original heart layer, and a vector mask being applied, which we can check on and off whenever we\’d like. If we hold down Shift, it will crop our shape proportional to its original dimensions. If we hold down Command or Control, it will crop our shape toward the center point. The Vector Crop Tool is very easy to use, and can be a useful way to make the perfect crop in your design.

Once you have released your mouse, you can begin typing. The flashing cursor means that you are in type-editing mode. Once you have the tool selected, you can click once in your document to create a text box, or you can click and drag to specify a text size.

Now that we have exited type-editing mode, we can make adjustments in the Context Toolbar. You can type in the name of a specific font. The first thing that we can change is the Font. As you scroll through the list of fonts, Affinity will give you a live preview of what the font will look like with your text. Once the font has been favorited, you can go to the Favorites tab to use it anytime you want.

The Recent tab shows fonts that have been used previously. To the right, you can bold, italicize, or underline your text.

To resize or reposition the text, it is the same as adjusting the other shapes. Just hover over the edges until you see the Move cursor to move the text, or you can use the handles to resize it.

To modify certain parts of the text, you need to be in typeediting mode, and then click and drag to highlight the text that you want to change. Another option is to have the Move Tool out, then doubleclick inside of the text box to continue typing. To affect the entire text box again, press Escape on your keyboard to exit type-editing mode, and with the text box selected, you can edit all of the text.

By using the Artistic Text Tool, you can easily add beautiful text to your designs. With this tool, click and drag to specify a text box. Sometimes, you need to insert filler text into your document so that you can see how it\’d look with a large amount of text. To do this, go to the top of the screen to Text, then Insert Filler Text.

In the Context Toolbar, we can change the font, the size, and more. Just as we learned in the last video, we can press Escape on our keyboard to exit type-editing mode, and then with the entire text box selected, we can modify the text inside of the Context Toolbar.

Just as before, we can highlight only parts of the text to only modify that selection. One thing that\’s different about the Frame Text Tool is that we\’re given two handles at the bottom right. The first handle acts as normal, making the text box bigger or smaller.

The Frame Text Tool has the additional feature to convert a shape or curve into a text box. To do this, first delete the text layer in the Layers panel. Select the Heart Tool, then click and drag a heart. Now we can begin typing, and insert filler text again. With the text inside of the heart, press Escape in your keyboard to exit type-editing mode.

One way to make this text box look even better is to change the paragraph style. All of the text is being aligned to the left right now, but we can change this so that the text is pushed to the edge of both sides of the text box. Press Escape so no layer is selected, and we can better see the heart that has been turned into a text box. The Frame Text Tool is a great way to put large amounts of text into a text box, as well as converting objects into frames for text.

Inside this panel, we have basic options, like adding underlines and strikethroughs. We also have typography options, like capitalizing all of your letters. As the Tracking is decreased, the letters will be closer together.

Tracking is the second option on the right side. Tracking allows us to change the spacing in between each of our letters. As the Tracking is increased, we\’ll have a larger space in between our letters. You could also type in any number you want.

This allows you to change the space in between the lines in the text box. When the number is smaller, there is less space in between each line. When the number is larger, there is more space in between each line. This changes how big the spaces are inside of the text box. However, if you try to change the Kerning now, the options are greyed out.

To make these options available, double-click inside of the text box to enter type-editing mode. We can also change the Width and Height of our letters by using the options on the right side. I don\’t generally use these options though, because they do the same thing as the handles that surround the text box. To do this, we first need to make a path by using the Pen Tool or by using a shape. Let\’s start out by putting text onto the curve. Double-click on the Curve layer icon in the Layers panel to have the curve fill the screen.

For this tutorial, we have a curve and an ellipse already drawn out. Select the Artistic Text Tool. Hover over the line until the cursor has a T with a squiggly line. Click once, then begin typing. You can see that the text is following the path. To change where the text starts and stops, you can move the orange triangles. To affect both of the orange triangles at the same time, hold down Shift while moving one of them. Now that there is text which is spilled over, we can control that text\’s position by using the red triangles.

Now that we\’ve seen how to put text on a curve, let\’s learn how to put text on a circle. Adjust the nodes. Double-click on the circle icon in the Layers panel to let it fill the screen. Hover over the edge of the circle until the cursor changed to a T with a squiggly line. Exit out of editing mode by pressing Escape on your keyboard. We can adjust the size and font in the Context Toolbar.

In the Context Toolbar, we can adjust the Baseline, which is how far away from the line the text will be placed. The higher the percentage for the Baseline, the farther away the text will be. You now know all of the basic tools that you need to put text on a path. In the Context Toolbar, we need to press Convert to Curves.

If you can\’t see this option, depending on the size of your monitor, this option will probably be under the arrows icon on the right side. In the Layers panel, you can open the Group to see that all of our letters are now individual layers. We can also resize our letters with the Move Tool.

Select all of the bottom nodes by clicking and dragging a selection marquee. We now have all of the options that we\’d expect from the Node Tool. Select the Y, then zoom into it. By holding down Shift, you can move the nodes so that they move straight down. Select an F. Click and drag to highlight the three nodes on the top right, then press Delete on your keyboard. To give the F sharper edges, highlight the four end nodes. Now the ends are sharp. If we wanted to, we could use the Corner Tool to bring back some roundness.

All we need to do is make a shape, and then make the image a child layer of the In this section, we\’ll learn how to place an image inside of a text box. This is done by making an image a child layer of the text, making it so the image will be clipped to wherever the text is. To make the image a child layer, click and drag the image down and to the right of the text layer. Now if we select the text layer, we can move and resize both layers together.

Additionally, it keeps the wife happy, as I have purchased and donated over two hundred, almost new books, over the years. I also like not having to remember to place a bookmark on my page. BTW, why do you need to manually capitalize the start of a new sentence or paragraph lately or have I just not noticed.

This is on iPad Pro. The Affinity workbooks are not reference manuals. But, one doesn\’t need print resolution i. They don\’t need to be that huge and highres at all for such purposes, you can give it a try with some ebooks. I have a bunch of Apple and PS theme related ebooks about graphics and photo themes, which all scale fine here.

What has that to do with reference manuals or self contained projects only, so what is the lame excuse argument here? The Affinity workbooks also contain a table of contents, index and chapter intros, further inside references and footnotes which do point to other book sections and things handled in other projects in their contents.

Did you never saw or had any ebook with hyperlinks which wasn\’t a reference manual? I have a bunch of Apple, Photoshop, Photo and other software related workshop ebooks also divided into projects and specific task which all offer the same purpose here as the Affinity books. What purpose would that be? Why do you think that was included? As for the index, the Photo one is only 8 pages of double-spaced two column entries, maybe 60 entries per page.

But more than half of that is devoted to entries for the tools, most of which appear in several different places. If you turn to the pages they reference, you will probably notice that there is nothing about any tool that is not already covered in the built-in or online help, often in greater detail.

It is the same for the references to panels, toolbars, etc. We are. Furthermore the thing stopping us make PDFs is A different publication could be designed as a PDF.

This one was designed as a physical book, so we choose to sell it as one. All other reasons are hypothesis and mainly bogus. Please stop arguing. Patrick Connor Serif Europe Ltd. True nobility lies in being superior to your previous self. When I purchased both the Workbooks from India I had great expectations. The curiosity and expectations soon fizzled out since the courier company could not clear my consignments from India Customs.

After a period of about seven months the books were delivered against cash payments of Custom Duty. By this time I had discovered Training videos on Vimeo and other videos for my need based training requirements. The entire exercise was so traumatic I did not open the Workbooks at all. Bulk of the books make it difficult to go through while working.

It\’s a better idea to split the Book into Chapterwise booklets with the same quality printing and adopting a little larger print size. May be one of these days I would open those books, considering the fact that the same have costed me more than the Software for which they are written. As far as e-book version, no way! You can post now and register later. If you have an account, sign in now to post with your account.

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