Manual affinity designer pdf free download

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Due to popular request, we have spent the last month creating a written guide for Affinity Designer. This eBook takes everything you know and love from our Affinity Designer video courseand converts it to an easy-to-read guide.

If you prefer written tutorials for learning, or just want a quick reference to all of the most important information for this program, then this book is for you. You will learn everything you need to know to go from по ссылке to expert. After you order the bookyou can instantly download your copy to read on any device. You will also receive all the exercise files used in the book, so you can follow along with each lesson.

Read and learn from any device! Read a free sample of the book here. Ezra and Ally work together to create tutorials for Affinity Revolution. For this book, Ezra created the original video course that it\’s based on, while Ally transcribed and formatted it as a book.

Manual affinity designer pdf free download they\’re not making tutorials for the Affinity community, Ezra and Ally love taking walks even when it\’s raining! After walking, they usually end up watching way too many YouTube videos. What are others manual affinity designer pdf free download about Affinity Revolution tutorials? Beverley Brown I have just completed both of your courses on Affinity Photo and Affinity Designer and I have to say they are the best online courses I have ever taken!

I learnt so much and I cannot thank you enough for your amazing clear way of teaching – it is a gift for sure. Ezra – you are a star! TheeScottishGuy I highly recommend affniity man\’s Affinity courses. They are worth way more than they cost. Manual affinity designer pdf free download skills and techniques you\’ll learn are fantastic and easy to remember thanks to the teaching methods eesigner the tutor.

Rockin\’ Out With Wow. Everyone needs an Ezra in their home! It\’s fantastic, loaded with info and very afcinity done. If you\’re a new to Affinity, like me, you can\’t go wrong making the purchase. Shane Tierney Thank you for putting something quite complicated into plain English! Christoapher Campbelll Ezra, you are awesome dude!

Thank you for all you\’re doing to help the community and me specifically! You have even helped my business grow and become something that I can be proud of! You agfinity awesome! You can read at your own pace, and easily follow along in Affinity Designer. You can 1/29644.txt every step in real time, so you never have to wonder how something was done. When you order the Affinity Designer Bundleyou get access to the video course and eBook.

With these two amazing resources, you can master Affinity Photo in video and written formats, giving you the benefit of both ways of learning. The coupon code you entered is expired or invalid, but the course manual affinity designer pdf free download still available!

I hope you love the book! Frequently Asked Questions Will Downlaod be able to download this book for offline reading? Just send an email manual affinity designer pdf free download [email protected]and we\’ll give you a full refund.

It\’s as ссылка as that. Which option is right for you? By bundling both products, you get the best deal Affinity Revolution offers. Order Here.

 
 

Manual affinity designer pdf free download

 
Meaning: It has blue nodes surrounding it and it\’s layer in the Layers Panel is highlighted in blue. Motion Blur. To merge selected layers: 1. On the Layers panel, select a layer with vector content. Free space games for three Personas are Draw, Pixel, Export. Features of Affinity Designer. There is something doenload to me being charged a lot of money every month

 

Affinity Photo Workbook – replace.me – Which option is right for you?

 

Adjust the context toolbar settings. Drag a corner or edge handle on the grid to reposition the grid to suit. From the context toolbar, click Apply. To straighten an image: 1. From the context toolbar, select Straighten. Drag on the image to define the new alignment. To save crop settings as a preset: 1.

From the context toolbar, click the Mode pop-up menu and select Add Preset. Type a name for the crop preset, then click OK. The new preset will appear at the bottom of the Mode pop-up menu. To delete a crop preset: 1. From the context toolbar, click the Mode pop-up menu and select the preset you wish to delete.

Click the Mode pop-up menu again and select Delete Preset. Transforming Layer content can be flipped, rotated, positioned and sized accurately. Flipping an image horizontallyTo flip or rotate layer contents: 1. Select one or more layers. From the Arrange menu, select a flip or rotate option.

You can also rotate layer content directly on the page by dragging its rotation handle or by using the Transform panel. To position layer contents accurately: 1. To nudge layer content: 1. Select layer content. Do one of the following: o For nudging by a single unit of measurement: Press an arrow key.

To size layer content accurately: 1. Select one or layers. Mesh warping Mesh warping lets you distort specific areas of your image without affecting other areas. It can be used for dramatic warping effects or for more subtle focused retouching of facial features. The extent of warping you want to carry out is governed by the complexity of the grid.

You\’ll initially start with a mesh grid without lines, but adding your own lines and nodes lets you warp with ease. Position lines adjacent to areas in your image that you want to apply warping to. To create a mesh: 1. From the Tools panel on the left, click the Mesh Warp Tool. Double-click on the edge of the mesh grid—the top edge gives a vertical line; a side edge gives a horizontal line.

Repeat for as many lines as you need. If you want to start again, click Reset on the context toolbar. To apply warping: 1. Optional On the context toolbar, use the Mode option to manipulate just the grid \’Source\’ or both grid and image simultaneously \’Destination\’. Drag a node, a node\’s corner handle, line or patch. Patch warping is achieved by clicking in an area contained by mesh lines and dragging the circle—this warps the entire area.

Select Apply or press. The mesh is really just an assembly of bendable curves. When you alter these curves, distorting the grid, the underlying image deforms accordingly. Perspective Perspective gives your image a three-dimensional appearance by applying a warp along one or more planes.

By reshaping a supporting perspective grid you can transform your image. To apply perspective: 1. Optional For two opposing, but independent, perspective planes, select \’Dual Plane\’ on the Planes pop-up menu. Optional Use the Mode option to set the mode in which the grid will operate.

Drag a corner handle on the grid. Use the to snap a grid handle to vertical or horizontal. With Snapping enabled, the grid handles will snap to any page edge. About layers Layers allow you to edit and design using a non-destructive methodology. This gives you maximum flexibility for your photographic projects. What are layers? You can think of layers as being like sheets of paper that are stacked one on top of the other. Transparent areas of a layer reveal the layer below, while opaque parts of a layer obscure the layers below.

All layer management is carried out from the Layers panel. A layer at the top of the panel is at the front of your document and vice versa. The effect of layer order on a document. Create layers Empty layers can be created in the Layers panel or from the Layer menu. Layers are created above the currently selected layer. Once created, layers can be renamed for easy identification.

If you copy a layer group, all layers within the group will be duplicated. This operation can also be performed between documents. In Separated mode only, you can also drag layers between documents from window to window.

By default, the Assistant will create a new layer to accommodate your paint strokes. To change a layer name: Click the layer\’s label and type a new name. Layer opacity A layer\’s opacity determines how see through a layer is and how much of the layer beneath is obscured or revealed.

Before and after opacity reduced. Numerical keys can be used to quickly set the opacity of selected layers. Different levels of opacity can also be applied to brush strokes, filter effects and the fills of vector content.

From the Layers panel, select one or more layers. Use the Opacity control to set an opacity value. To quickly select an opacity value, drag left or right over the panel\’s Opacity label. To use opacity quick keys: 1. Select a single layer or multiple layers. Press a numerical key, or two numerical keys in quick succession, to set the opacity. Layer blending A layer\’s blend mode determines how the layer\’s pixels or contents blend with the pixels on the layer beneath.

Blend mode types Affinity Photo supports an impressive selection of different blend modes. The top pixels display over underlying pixels according to the level of top layer opacity. Any layer can have a blend mode assigned. The default blend mode is \’Normal\’—no special compositing is applied. For a layer group, the default is \’Passthrough\’ i. The same blend modes can be utilized on layer effects and brushes. To change the blend mode of a layer: 1.

On the Layers panel, select a layer. Choose a blend mode from the pop-up menu on the panel. Layer blend ranges Blend ranges specify the range of colors on a current layer which are blended with the underlying layer s.

About blend ranges Blend ranges allow you to specify how tonal values of a layer blend with the layer s below. You can set the range of the tonal values affected and can set the range to have any level of opacity from opaque to transparent. Before and after blend range applied. The blend range of the selected layer and the underlaying layer s is controlled in the Blend Ranges dialog. You can change the blend range for individual color channels within the dialog.

About blend gamma and antialiasing RGB documents only The Blend Ranges dialog allows you to adjust the blend gamma of the selected layer. This gives you the option of designing using a linear-RGB color space 1. In other words, it gives you full control over how the tones of semi- transparent or antialiased edged objects interact with colors underneath. Blue rectangle using regular sRGB-blending 2. By default, text layers are set to a gamma of 1.

These default settings can be changed in Preferences Tools options. Antialiasing is the reduction of the jagged appearance of lines on a pixel grid. Antialiasing is achieved by the addition of semi-transparent pixels along the line to smooth the transition from the line\’s edge to background objects. This area of transition is sometimes referred to as the antialiasing ramp or antialiasing coverage. In the Blend Ranges dialog, you can adjust the antialiasing ramp coverage of the selected layer. Antialiased line with linear coverage map before and custom coverage map after.

Type directly in the text box or drag the pop-up slider to set the value. If this option is off, nodes are connected using smooth curves. To change blend ranges: 1. On the Layers panel, select a layer and then click Blend Ranges. Adjust the settings in the dialog.

Close the dialog. To modify the antialiasing ramp: 1. Click the Coverage Map thumbnail. From the displayed chart, select a node on the profile\’s line and drag it vertically or horizontally to a new position. Repeat for other nodes as needed. For more complex profiles, click on the profile line to add a node which can be positioned as for any generated node.

To remove antialiasing, set a straight, horizontal profile line at the top of the chart. To reset antialiasing ramp to linear: 1. From the displayed chart\’s pop-up dialog, click Reset. The profile shows under the chart.

To apply a custom coverage map profile: 1. Select a custom profile thumbnail from below the chart. The chart will update, showing the chosen profile. Using adjustment layers Adjustment layers allow you to make non-destructive corrections and enhancements to your photo project or individual layers.

Before and after a Recolor adjustment layer was applied. About adjustment layers The Adjustment and Layers panels provide a range of adjustments you can apply to your photo or design. Once selected, an adjustment layer is added to the Layers panel. There may be times that you only want to apply an adjustment layer to either a single layer or a group of layers. This is easily achieved by clipping. Adjustment layers also have mask layer properties. Areas of an adjustment layer can be revealed or hidden in the same way as with a mask layer.

If you have a pixel selection in place when you add an adjustment layer, the area selected is automatically masked. To apply an adjustment from the Layers panel: 1.

Click Adjustments and select an adjustment from the pop-up menu. If a dialog appears for the adjustment, follow the steps below: i. Close the dialog to apply. The adjustment is added directly above the selected layer. To modify, merge or delete an adjustment layer: 1. On the Layers panel, double-click the adjustment layer that you want to modify. Close the dialog to apply the changes, Merge to apply the changes and merge the adjustment with the layer beneath, or Delete to remove entirely.

To mask an adjustment layer: 1. On the Layers panel, select the Adjustment layer. Do any of the following: o To \’erase\’ from the mask, paint with the Erase Brush Tool. Adjust the gradient colors from the context toolbar. Using Live Filters Live Filters allow you to apply filter effects such as blurring, sharpening, noise and distortion non- destructively, meaning you can modify or remove the effects without having to use the History panel to undo other operations on your work.

About live filters Live filters provide a way of applying creative effects to your images whilst retaining the ability to modify the effect settings or remove the effect altogether. The filter is added to the active layer, similar to applying Adjustment Layers.

If you have a pixel selection in place when you add a live filter, the area is automatically masked. To modify, merge or delete a live filter: 1. On the Layers panel, double-click the live filter that you want to modify. Adjust the settings in the dialog; the changes will be applied in real time. Close the dialog to apply the changes, Merge to apply the changes and merge the adjustment with the layer beneath, or Delete to remove the filter layer entirely. To mask a live filter: 1. On the Layers panel, select the live filter.

Blur filters. Gaussian Blur The Gaussian Blur filter is used to reduce image noise or detail by creating a pleasing, smooth blur using a weighted average.

Gaussian blur added to the water. About the Gaussian Blur filter This filter can be applied as a non-destructive, live filter. Type directly in the text box or drag the slider to set the value. Box Blur The Box Blur filter blurs an image based on the average color of neighboring pixels.

At high radius levels, this results in an obvious \’box\’ effect. At lower radius levels, it results in an effect similar to Gaussian Blur. About the Box Blur filter This filter can be applied as a non-destructive, live filter. Median Blur The Median Blur filter broadens color regions in the image. At much higher intensities it introduces flat areas of color.

Median Blur on a photograph. About the Median Blur filter This filter can be applied as a non-destructive, live filter. At high levels it creates large, flat areas of color. Bilateral Blur The Bilateral Blur filter blurs an image while retaining areas of high contrast. As these contrast changes most commonly occur at edges, it makes the filter very useful both for noise reduction and for creating interesting stylistic effects. About the Bilateral Blur filter This filter can be applied as a non-destructive, live filter.

At larger tolerance values, pixels with greater tonal differences will be included within the blur. Motion Blur The Motion Blur filter blurs in a specified direction to give the impression of movement. This gives an effect similar to panning with a camera at slower shutter speeds. Motion Blur can add the impression of speed or movement to images. About the Motion Blur filter This filter can be applied as a non-destructive, live filter. Drag the dial to set the value.

Lens Blur The Lens Blur filter mimics the blur applied to a photo when a wide aperture is used to achieve a narrow depth of field. It can be used to improve the composition of a photo by applying a shallow depth of field to blur unwanted background. Unlike the Gaussian Blur filter, the Lens Blur filter recreates the the bokeh effects generated with a real camera lens. About the Lens Blur filter This filter can be applied as a non-destructive, live filter.

The shape of the iris affects the shape of the specular highlights bokeh. The most noticeable bokeh shapes are created using a low blade curvature and fewer aperture blades. To mimic the effects of your own lenses, be sure to match the number of aperture blades. Depth Of Field Blur filter The Depth Of Field Blur filter applies a blur gradient that can be used to simulate extreme depth of field and miniaturization effects, such as tilt shift.

Using the Tilt-Shift mode to produce a miniature model effect. About the Depth of Field Blur filter This filter can be applied as a non-destructive, live filter. Modifying the applied blur gradient The gradient stops determine the position and extent of the transition between the areas in sharp focus and those that are blurred. The focus origin A defines the central point at which the image is kept completely in focus.

Reposition the focus origin by dragging on the stop. The inner lines B define the width of the area in focus. For the Tilt Shift mode these can be set independently by dragging each of the stops in turn, or, symmetrically by dragging one of the stops while holding the. The Elliptical mode always matches the shape of the inner lines to the outer lines so that only the width can be specified.

The outer lines C define the end of the blur transition. For the Tilt Shift mode, these can be set independently by dragging each of the stops in turn, or, symmetrically by dragging one of the stops while holding the.

The Elliptical mode always sets the stops in pairs. The transition areas D between the inner and outer lines are where the blurring gradually increases. The wider the lines, the more gradual the transition. The area on the outside of the lines has the filter applied at the full amount set by the Radius slider.

The angle of the filter can be changed by dragging the stops at an angle. Once the desired angle is achieved, holding the will temporarily lock the angle to allow for further adjustment of the width of the adjustment. When using the tilt shift effect to \”miniaturize\” a scene, you will get the best effect if you choose your images carefully. Models are generally viewed from above, so the tilt shift effect will work best on images taken with an elevated viewpoint and a wide angle of view.

Buildings, roads, traffic and railways make excellent subjects. Field Blur filter The Field Blur filter lets you control blurring at specific areas of your image. About the Field Blur filter Against a uniformly blurred image, one or more selection handles can be added, positioned and edited to control the extent of blurring at that handle position, i.

Multiple areas of focus can therefore be created. Handles are independent of each other and can be repositioned and edited individually. This filter can be applied as a non-destructive, live filter. Decreasing the value brings the image under the handle increasingly into focus. A selected handle shows as a double ring, as opposed to a single ring deselected. Diffuse Glow Diffuse Glow broadens highlights in the active layer or selection by brightening gradually outward from existing highlights, producing a soft halo effect.

This creates a romantic, almost dreamy effect, similar to that of photographing an image through a soft diffusion filter. Using diffuse glow to add intensity and softness to the highlights of an image.

About the Diffuse Glow filter This filter can be applied as a non-destructive, live filter. As the tolerance decreases, the effect spreads to areas that were darker to begin with.

Sharpen filters. Clarity The Clarity filter enhances the local contrast in an image. Its greatest influence is in the mid-tonal range. This results in a sharpening effect. Using the Clarity filter to accentuate the outline and details of the image\’s subject.

About the Clarity filter In Photo Persona, this filter can be applied as a non-destructive, live filter. In Develop Persona, this filter is available on the Basic panel Enhance.

Setting the value via a text box is not available in Develop Persona. Unsharp Mask In spite of its misleading name, the Unsharp Mask filter is a flexible and powerful way to increase apparent sharpness in an image.

Unsharp Mask can be used to add punch to an image, or to help sharpen soft images. About the Unsharp Mask filter This filter can be applied as a non-destructive, live filter. A smaller radius enhances smaller scale detail. Use higher values for grainy images or skin tones. The Unsharp Mask filter affects the whole image or selection.

High Pass The High Pass filter retains details where sharp color transitions occur, generally at the edges, and suppresses the rest of the image. High Pass filter applied with an Overlay blend mode for sharpening. About the High Pass filter When a High Pass filter is applied at a high radius value to a duplicate layer and combined with a contrast blend mode such as overlay, soft light or hard light , it can be used as a useful sharpening technique.

At higher radius values, only edge pixels are kept. Distort filters. Ripple The Ripple filter adds a watery, undulating pattern, like ripples on the surface of a pond. The Ripple filter used to achieve a unique effect. About the Ripple filter This filter can be applied as a non-destructive, live filter. Drag on the image to set the origin. Twirl The Twirl filter applies a clockwise or counter-clockwise distortion effect to images. The Twirl filter applied to a fireworks photograph. About the Twirl filter This filter can be applied as a non-destructive, live filter.

Negative values give a counter-clockwise effect, positive values give a clockwise effect. Spherical The Spherical filter gives objects the appearance of being wrapped around a spherical shape, distorting the image and stretching it to fit the curve. Sharks have good days too!

About the Spherical filter This filter can be applied as a non-destructive, live filter. Negative values give a concave effect, positive values give a convex effect.

Displace The Displace filter applies distortion according to a pattern defined by a displacement map. The lightness values of pixels within the displacement map determine the degree to which the distortion occurs. Using a texture as a displacement map to blend objects together. About the Displace filter This filter can be applied as a non-destructive, live filter.

Negative values shift pixels upwards, positive values shift pixels downwards. If this option is off, the displacement map retains its native dimensions. Pinch creates a concave spherical distortion squeezes an area and Punch creates convex spherical distortion bulges an area. Negative values give a pinch effect, positive values give a punch effect. Lens Distortion The Lens Distortion filter provides a way of correcting distortion caused by the curvature of a camera lens.

It\’s especially useful for correcting barrel distortion where straight edges are bowed outwards , or for correcting pincushion distortion where straight edges are bowed inwards.

About the Lens Distortion filter This filter can be applied as a non-destructive, live filter. Drag to the left negative value to remove barrel distortion, drag to the right positive value to remove pincushion distortion.

It\’s also useful to turn grids on so that you can see when the lines are straight. Perspective The Perspective filter can be used to either correct converging perspective lines caused by lens distortion, or to apply perspective for a creative effect. Lens distortion can often cause the perspective of a photo to be out, creating the appearance that lines are not vertical or horizontal when they should be.

About the Perspective filter The Perspective filter can be adjusted in single or dual plane mode, if applied via the Filters menu Distort category. If using the non-destructive, live filter, only single plane mode is available. When the perspective filter is applied, the image is stretched and cropped to the original canvas size.

If this option is off, only anchor points and lines display. If disabled, the image will look continuous; if enabled, the image will have visible seams where the perspective tool has been applied that can then be retouched. When selected, your page displays the adjusted and original images simultaneously with a sliding divider which can be repositioned and shows \’Before\’ and \’After\’. Noise filters. Denoise The Denoise filter is a powerful form of noise reduction.

At higher settings, it also creates a really pleasing, posterizing effect. About the Denoise filter This filter can be applied as a non-destructive, live filter.

Higher values will give a better quality finish but the application of the filter will take longer. This process is very complex and therefore may take some time to apply. Add Noise All digital images have a certain level of noise random pixel distribution which helps to create atmosphere, texture, and depth. After image manipulation, such as resizing, cloning, applying gradients, etc. The Add Noise filter adds random pixels to the image, introducing a level of noise to help return the textures in the image.

This also helps to seamlessly blend effects. About the Add Noise filter This filter can be applied as a non-destructive, live filter. It is often best used in color images. It\’s often the best choice for grayscale images. Diffuse The Diffuse filter adds noise to the edges in the image or selection.

About the Diffuse filter This filter can be applied as a non-destructive, live filter. Color filters. Vignette The Vignette filter can be used to either add vignetting to an image, or remove it from the image. About the Vignette filter This filter can be applied as a non-destructive, live filter. Negative values darken the effect, positive values lighten the effect. Defringe Purple fringing, or bichrominance as it\’s more correctly termed, is a form of chromatic aberration caused by the over-excitation of the pixels on the sensor in the camera.

The effect can occur anywhere within an image but it\’s most common at the edges of high contrast areas, especially when a dark element is strongly backlit, such as branches silhouetted against a blue sky.

The Defringe filter selectively adjusts these areas to remove the color fringing. Using the Defringe filter to remove purple fringing from the window edges. About the Defringe filter This filter can be applied as a non-destructive, live filter. On selecting the Defringe filter, it will default to settings which remove the purple fringing, as this is the most common type.

This can be manually adjusted as necessary in the dialog, or by sampling the fringe color on the page to remove it. Drag the slider or click on the image to define the hue. Lighting effects The Lighting feature simulates lighting from one or more light sources. About lighting Lighting effects simulate ambient, point, directional, and spot lighting in your design.

You can supplement the single light source with additional light sources for more advanced lighting control; different light source types can be used in combination, each being independently configured and positioned using on-screen handles.

Affinity Photo also lets you create lighting effects from 3D bump maps made from texture inherent in any image. Source types Different source types give dramatically different results. The types are best imagined with a few examples. Casts light directionally from infinity, e. Lighting effects can be applied as a non-destructive, live filter, which can be accessed via the Layer menu, from the New Live Filter Layer category. Higher values reflect more light.

Set the value lower for larger and more widespread highlights; higher for smaller, sharper highlights. You can Add, Copy or Remove additional light sources. Use Clear bump map to remove any applied map. To apply a spot light: 1. From the Filters menu, select Lighting.

From the Type pop-up menu, select \’Spot\’. Drag the on-screen handle at the apex of the \’fan\’ shape to adjust the distance and direction of the light. Optional Drag the Elevation handle situated along the center line to set the height of the spot light above the page.

Optional Drag the outer and inner handles at the end of the fan to set the outer and inner cone, respectively. To apply a point light: 1. From the Type pop-up menu, select \’Point\’. Reposition the default point light by dragging the center handle over a subject of interest.

Drag the circle\’s edge inwards or outwards to set the light\’s distance from the page. To apply a directional light: 1. From the Type pop-up menu, select \’Directional\’. On the Lighting panel, drag the cross-hair within the Direction dial. To load a 3D bump map: 1. On the Lighting panel, click Load bump map, navigate to, then select your image. Adjust Texture to set the amount of texture displayed. It can be used to reduce contrast, boost shadow detail and recover highlight detail.

Moving the slider to the right will boost a greater range of shadow tones. Moving the slider to the right produces a stronger contrast, similar to the Clarity filter. Move the slider to the left for a flatter result. Move the slider to the right to recover a greater range of highlights. Moving the slider to the right produces a stronger contrast, moving the slider to the left produces a smoother result but may make posterization more visible.

Fill layers Fill layers contain an adjustable solid or gradient color. They can be used for photo editing and corrective or creative purposes. Fill Layer radial gradient based on model\’s lipstick color. A fill layer will automatically resize to fill the page if the canvas size is modified. A new layer is added above the current layer or at the top of the Layers panel if no layer is selected with a solid color applied.

You can use the Color panel or Swatches panel to update the solid color. Color picking from another layer is also popular for harmonizing colors. For details see Selecting colors. To apply a gradient to a fill layer: 1. Select the Gradient tool from the Tools panel. From the context toolbar, select a fill type from the Type pop-up menu. Drag the cursor across the content. Once applied, you can modify the gradient and its colors to suit your specific needs. For details see Gradient editing.

Snapshot layers A snapshot layer is created from a predefined project snapshot and is added to your project as a single, flattened pixel layer. The snapshot layer is added above the current layer or at the top of the Layers panel if no layer is selected. Layer masking A layer mask is used to reveal a portion of a layer while the rest of the layer remains hidden.

This means that you can use a mask layer to \’delete\’ areas of a layer that you don\’t want. Masking can be applied at any level in the Layers panel—as an independent mask layer or applied to a specific layer or to a layer group.

This is governed by the mask layer\’s positioning in the layer stack. The non-destructive power of masking Masks are applied as a separate layer, allowing them to be freely edited and moved. Mask layers affect any layer below them within the Layers panel. They can also be clipped to individual layers so that only that layer is affected. Alternatively, mask layers can be added to layer groups so they only affect that group.

Adjustment layers and Live Filter layers also have mask layer properties. The added mask will hide areas outside a selection if a selection is in place or display the entire layer if no selection is in place. The added mask will hide the entire layer regardless of any selection in place. The selected layer becomes a mask for the layer below it. By default, a created mask layer is clipped to the selected layer or added at the top of the Layers panel if no layer is selected.

It can be moved within the Layers panel to affect greater or lesser areas. You can create a mask from a selection which has been \’painted\’ on your image using Quick Mask mode. See Edit selection as layer using Quick Mask mode for more information. You can use the Pen Tool to draw a closed shape that can be made into a mask. From the tool\’s context toolbar, click Mask.

To create a luminosity mask: 1. On the Layers panel, click on the layer\’s thumbnail with the and s pressed. From the Layers panel, click Mask Layer. To edit a pixel mask: 1. On the Layers panel, select the mask thumbnail representing the mask layer. Do one of the following: o To \’erase\’ from the mask, paint on the page using the Erase Brush Tool.

A white fill completely restores, while greyscale fills partially restore the mask by varying amounts. To refine a pixel mask: 1. On the Layers panel, select the mask\’s thumbnail. From the Layer menu, select Refine Mask. To invert a pixel mask: 1. Do one of the following: o From the Layer menu, select Invert. To return to normal view, click the thumbnail or press the.

To add a vector mask: 1. Add vector content, e. On the Layers panel, drag the created vector content\’s layer directly onto the thumbnail of another \’target\’ layer. The thumbnail of the target layer changes to indicate that a mask and crop has been applied. To add a pixel mask to vector content: 1. On the Layers panel, select a layer with vector content.

Paint on the page using the Erase Brush Tool. By default, the Assistant will add a layer mask to the selected layer to accommodate your paint strokes.

Once the mask is in place, you can \’restore\’ the mask using the Paint Brush Tool. To delete a mask: 1. Press the.

Layer operations. Alternatively, you can view and edit a single layer including layer masks, adjustment layers and fill layers in isolation. Before and after layer hidden. To hide or show multiple layers simultaneously: In the Layers panel: 1. Select multiple layers using -click or -click.

Select any other layer in the Layers panel to resume standard editing view. Selecting Before you can move or modify layers, you must first select them. Furthermore, you can select and edit a single layer including layer masks, adjustment layers and fill layers in isolation.

To select a specific child layer: 1. On the Layers panel, expand the parent layer or layer group to show its contents by clicking the layer\’s arrow. Click to select the child layer. Locate a layer in the Layers panel, by -clicking and selecting Find in Layers Panel. Duplicating Affinity Photo lets you make duplicate layers to increase workflow or to temporarily create a \’backup\’ layer. A power duplicate feature also allows you to duplicate and repeatedly transform layer contents.

Layers panel before and after layer duplication. A duplicated layer is placed immediately above the original layer. You can also duplicate a selected layer using the same command from the Layer menu. Power duplicate If you duplicate a layer s and then transform the duplicated contents, you can immediately duplicate the transformed content. The transform is applied accumulatively to subsequent duplicates.

A original content, B original content duplicated and rotated, C transformed duplicate duplicated numerous times. To \’power duplicate\’: 1. Select a layer s. From the Layer menu, select Duplicate. Transform the duplicated layer content. A duplicate is created and the transform is automatically applied to the duplicate.

Repeat step 4 to create more duplicates with the transform accumulatively applied. Aligning Layer content can be aligned on the page accurately using the Arrange commands.

Before and after alignment applied. For example, you can align in relation to Selection Bounds, page Spread or page Margin.

If margins are not set, alignment is to the page edge instead. The Arrange pop-up panel also offers options for distributing objects. To align layer content: 1. Select your layer s. Do one of the following: o On the Toolbar, click Arrange, set your options from the pop-up panel, and then click Done.

Layer clipping Clipping involves positioning one layer inside another, creating a parent – child layer relationship. The path of the parent layer becomes the new boundaries for the child layer. Any areas of the child layer which lie outside the parent layer\’s path are masked hidden.

Clipping can also be used to confine an adjustment, filter or mask to a single layer or layer group. Before and after the middle pixel layer has been clipped to the top pixel layer. Layers panel showing clipping procedure. About clipping When scaling a parent layer, child clipped layer scale to maintain the correct aspect ratio. Scaling a clipped layer has no effect on the parent layer. 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. Virtual lessons at low prices. Amazon Explore Browse now. About the author Follow authors to get new release updates, plus improved recommendations. Brief content visible, double tap to read full content. Full content visible, double tap to read brief content. Welcome to my online home, I hope you feel welcome here.

I hope you enjoy my ebooks and printed books. Best wishes, Frank. Read more Read less. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them. Learn more how customers reviews work on Amazon.

Images in this review. Reviews with images. See all customer images. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Verified Purchase. This book teaches you the program by involving you in using the various tools it brings by having you make a project per lesson. That way, by the end of the book, you have not only learned to use the app by you have a lot of pretty projects to use if you want to.

A win-win. I liked it so much I just bought the Affinity Publisher book from the same author. One person found this helpful. This author knows exactly how to write an instructional book!!! Affinity Designer is thoroughly explained. The book is beautifully put together. All of the colored pages and type are perfect. If you want to learn how to use Affinity Designer this book is absolutely necessary. There are 21 lessons including the extra Color Theory.

I am so happy with this purchase. I wish I had social media accounts so I could help market this book. I am loving working through this book. The lessons are grouped into bite size pieces that can be done in just a few minutes I\’ve never used any kind of designer software, but have always wanted to. This book is perfect for a beginner like me. The directions are clear and thorough. So far, I haven\’t been stumped or lost. Thank you for such a well-written book!

Highly recommend this book!!! By Elisheva on January 24, Truly disappointed. Was expecting more, not Basic Intro to Graphics. Even covers opening an existing file and creating a New document.

That\’s Intro to the Computer No complex or intermediate techniques covered. This book is for the beginner in the early years of a graphics career. If you are a seasoned pro, this book will not impress. I love this because it helps me get started with Designer after a year of playing around with limited success. It\’s a little outdated, but not enough to matter.

I like how the author takes you through the basics and increases the level of expertise. This is exactly what I needed to kick start the learning process. See all reviews. Top reviews from other countries. Translate all reviews to English.

I\’m just struggling through the book not v good at learning stuff and must confess this is the best teaching type intro i have ever come across. If you want to be an Affinity Designer designer, get this book. Worth every penny. Paperback is better than eBook as you can easily flip back and forth. Rex Last. Report abuse. Perfect for those who are just beginning to use Affinity Designer. Clear and well written. An email address is given if you need support or to request the images used in the manual.

The response was almost immediate and very helpful. I really enjoyed working through this book and the exercises. Would definitely be interested in others in the series. I highly recommend this book if you want to get a good understanding of Affinity Designer and what it can do.